Pub Date : 2023-11-01DOI: 10.5325/ninecentstud.35.0075
Laura White
Abstract One of the more remarkable satires of English society and thought of the 1880s came in the guise of a fairy story, That Very Mab (1885), in which the eponymous fairy queen is driven out of Samoa by imperialists and on her return to England finds it overrun by evolutionists and the proponents of modern material progress. Written by the satirist and popular Punch contributor May Kendall, That Very Mab excoriates Victorian England by satirizing its passion for explanatory frameworks, including scientific materialism, philistinism, nihilism, novel metaphysics, evolutionary progress, and imperialism, all subjects that Kendall also attacked in her comic verse (published between 1885 and 1894). Kendall has recently received critical attention for her satiric poems about evolutionary science, materialism, and modern disenchantment. While That Very Mab’s satiric concerns in many ways dovetail with those of these poems, the wider scope of its fantastic narrative allows Kendall to enact a more sustained assault on the concept of empire and its justifications from evolutionary anthropology. Highly skeptical of teleologies that promote a belief in the evolutionary progress of humankind, her fairy fantasy links evolutionary anthropology to the dishonest blandishments, corruption, and violence of imperial adventures.
{"title":"Evolutionary Science, Empire, and Disenchantment in May Kendall’s <i>That Very Mab</i>","authors":"Laura White","doi":"10.5325/ninecentstud.35.0075","DOIUrl":"https://doi.org/10.5325/ninecentstud.35.0075","url":null,"abstract":"Abstract One of the more remarkable satires of English society and thought of the 1880s came in the guise of a fairy story, That Very Mab (1885), in which the eponymous fairy queen is driven out of Samoa by imperialists and on her return to England finds it overrun by evolutionists and the proponents of modern material progress. Written by the satirist and popular Punch contributor May Kendall, That Very Mab excoriates Victorian England by satirizing its passion for explanatory frameworks, including scientific materialism, philistinism, nihilism, novel metaphysics, evolutionary progress, and imperialism, all subjects that Kendall also attacked in her comic verse (published between 1885 and 1894). Kendall has recently received critical attention for her satiric poems about evolutionary science, materialism, and modern disenchantment. While That Very Mab’s satiric concerns in many ways dovetail with those of these poems, the wider scope of its fantastic narrative allows Kendall to enact a more sustained assault on the concept of empire and its justifications from evolutionary anthropology. Highly skeptical of teleologies that promote a belief in the evolutionary progress of humankind, her fairy fantasy links evolutionary anthropology to the dishonest blandishments, corruption, and violence of imperial adventures.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"34 9","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135510155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-01DOI: 10.5325/ninecentstud.35.0001
Sarah E. Lund
Abstract The new printing technique of lithography, which flourished in the early nineteenth century, has been examined for its connections to Romantic ideals of artistic subjectivity, to the liberal press, and to a boom in visual media. This article centers lithography’s unique materiality to investigate the significance of its new technique—its use of limestone—that establishes compelling connections to natural history and new conceptions of time. Eugène Delacroix’s (1798–1863) unruly marginalia, which populate the borders of the first printer’s proofs of his 1828 lithographic illustrations of Johann von Goethe’s (1749–1832) Faust, serve as a case study. Drawn on and printed from lithographic limestone, the marginalia can be interpreted as fossils. This article examines how lithography facilitated new conceptions of history, time, and memory that provided grounds for a Romantic artist like Delacroix to blur the boundaries between the human and the earthly, the artificial and the natural, the ephemeral and the historic, to find within the liminal the production and reproduction of transgressive forms that persisted throughout his artistic oeuvre.
{"title":"Fossils: Lithography’s Porous Time and Eugène Delacroix’s <i>Faust</i> Marginalia","authors":"Sarah E. Lund","doi":"10.5325/ninecentstud.35.0001","DOIUrl":"https://doi.org/10.5325/ninecentstud.35.0001","url":null,"abstract":"Abstract The new printing technique of lithography, which flourished in the early nineteenth century, has been examined for its connections to Romantic ideals of artistic subjectivity, to the liberal press, and to a boom in visual media. This article centers lithography’s unique materiality to investigate the significance of its new technique—its use of limestone—that establishes compelling connections to natural history and new conceptions of time. Eugène Delacroix’s (1798–1863) unruly marginalia, which populate the borders of the first printer’s proofs of his 1828 lithographic illustrations of Johann von Goethe’s (1749–1832) Faust, serve as a case study. Drawn on and printed from lithographic limestone, the marginalia can be interpreted as fossils. This article examines how lithography facilitated new conceptions of history, time, and memory that provided grounds for a Romantic artist like Delacroix to blur the boundaries between the human and the earthly, the artificial and the natural, the ephemeral and the historic, to find within the liminal the production and reproduction of transgressive forms that persisted throughout his artistic oeuvre.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"12 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135510629","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-01DOI: 10.5325/ninecentstud.35.0054
Shelly Jarenski
Abstract Eadweard Muybridge, whose studies of animals in motion precipitated the first motion pictures, has been associated with positivism, modernism, and masculinity. Late nineteenth-century spiritualism has been associated with mysticism, Victorianism, and femininity. These associations make the Kate and Robert Johnson Residential Photo Album, photographed by Muybridge, a compelling artifact. The album is an anomaly in both Muybridge’s career and within spiritualism. Along with preserving images of the Johnsons’ domestic space, it also features astonishing images that are the only known examples of spirit photography by Muybridge. Because the couple was alive and took turns posing as the spirits, these photographs are an anomaly within spiritualism as well since spirit photographs generally constituted proof of contact with the netherworld. As such, the artifact helps us reevaluate the relationship between nineteenth-century positivism and spiritualism and consider the aesthetic influence of the sitter Kate Johnson on the album’s production. This article also places the album in the context of other visual culture phenomena, such as scrapbooking and album practices, as well as museum aesthetics. Finally, it considers narratives of gender, sexuality, and the nuclear family, within and beyond the album itself and the discourses surrounding spiritualism.
{"title":"Playing Dead: Eadweard Muybridge’s Residential Photo Albums and Spiritualist Aesthetics","authors":"Shelly Jarenski","doi":"10.5325/ninecentstud.35.0054","DOIUrl":"https://doi.org/10.5325/ninecentstud.35.0054","url":null,"abstract":"Abstract Eadweard Muybridge, whose studies of animals in motion precipitated the first motion pictures, has been associated with positivism, modernism, and masculinity. Late nineteenth-century spiritualism has been associated with mysticism, Victorianism, and femininity. These associations make the Kate and Robert Johnson Residential Photo Album, photographed by Muybridge, a compelling artifact. The album is an anomaly in both Muybridge’s career and within spiritualism. Along with preserving images of the Johnsons’ domestic space, it also features astonishing images that are the only known examples of spirit photography by Muybridge. Because the couple was alive and took turns posing as the spirits, these photographs are an anomaly within spiritualism as well since spirit photographs generally constituted proof of contact with the netherworld. As such, the artifact helps us reevaluate the relationship between nineteenth-century positivism and spiritualism and consider the aesthetic influence of the sitter Kate Johnson on the album’s production. This article also places the album in the context of other visual culture phenomena, such as scrapbooking and album practices, as well as museum aesthetics. Finally, it considers narratives of gender, sexuality, and the nuclear family, within and beyond the album itself and the discourses surrounding spiritualism.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"52 10","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135509851","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-01DOI: 10.5325/ninecentstud.35.0033
Srimayee Basu McCall
Abstract Hannah Crafts’s The Bondwoman’s Narrative (ca. 1853–61) is the earliest known work of fiction written by a Black woman in the United States. Its distinctiveness lies in the internationalism through which the labor regimes of the southern plantation are shown to be intimately bound to global sites of colonial dispossession. Besides unpacking the entangled strands of British and American imperialisms, the author-narrator critically emulates conventions of the nineteenth-century transatlantic literary marketplace, evincing an understanding of both her embodied self and her intellectual labor as commodities in a world system built with racialized labor. Crafts’s novel revises the notion of chattel slavery as provincial, situating it instead within the Atlantic World’s expansive flows of capital and commodities. It presents not a geographically and socially demarcated institution but a plantation empire that goes far beyond the contours of the American South or, indeed, the continental United States, creating a remarkably nuanced conception of Black positionality, one informed not only by race but also by global capital. As part of a broader field-based inquiry, this article probes the affordances of thinking about antebellum Black Atlantic political subjectivity as positioned between two imperialist projects: British abolitionism and American plantocratic expansionism.
{"title":"“Flaming Madras handkerchiefs and calico blazing with crimson and scarlet flowers”: Antebellum World Systems in Hannah Crafts’s <i>The Bondwoman’s Narrative</i>","authors":"Srimayee Basu McCall","doi":"10.5325/ninecentstud.35.0033","DOIUrl":"https://doi.org/10.5325/ninecentstud.35.0033","url":null,"abstract":"Abstract Hannah Crafts’s The Bondwoman’s Narrative (ca. 1853–61) is the earliest known work of fiction written by a Black woman in the United States. Its distinctiveness lies in the internationalism through which the labor regimes of the southern plantation are shown to be intimately bound to global sites of colonial dispossession. Besides unpacking the entangled strands of British and American imperialisms, the author-narrator critically emulates conventions of the nineteenth-century transatlantic literary marketplace, evincing an understanding of both her embodied self and her intellectual labor as commodities in a world system built with racialized labor. Crafts’s novel revises the notion of chattel slavery as provincial, situating it instead within the Atlantic World’s expansive flows of capital and commodities. It presents not a geographically and socially demarcated institution but a plantation empire that goes far beyond the contours of the American South or, indeed, the continental United States, creating a remarkably nuanced conception of Black positionality, one informed not only by race but also by global capital. As part of a broader field-based inquiry, this article probes the affordances of thinking about antebellum Black Atlantic political subjectivity as positioned between two imperialist projects: British abolitionism and American plantocratic expansionism.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"49 7","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135509529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Nineteenth-Century French Studies: Index to Volume 51","authors":"","doi":"10.1353/ncf.2023.0010","DOIUrl":"https://doi.org/10.1353/ncf.2023.0010","url":null,"abstract":"","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43185683","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay examines shifting understandings of the vegetal in the first edition of Rauch’s Harmonie hydro-végétale et météorologique (1802). In this two-volume treatise which denounces the consequences of deforestation and calls for an intensive state-sponsored sylvicultural program, Rauch arg ued that twenty million more acres of trees were needed to redress the French climate, to arrest the calamitous meteorological phenomena that were destroying the country, and to provide food and energy for the nation. Interestingly, however, this instrumentalist discourse on the quintessential utility of trees also includes a claim that nature holds the right to be respected as a person. This article therefore places Harmonie in its cultural context; it analyzes Rauch’s different attitudes toward the plant kingdom, and ultimately considers the conceptual tensions running through this thought-provoking text.
摘要：本文考察了Rauch的Harmonie hydro-végétale et météorologique（1802）第一版中对植物的理解的转变。在这篇两卷本的论文中，Rauch谴责了森林砍伐的后果，并呼吁开展一项由国家赞助的强化园艺计划，他说，还需要2000万英亩的树木来纠正法国的气候，阻止正在摧毁国家的灾难性气象现象，并为国家提供粮食和能源。然而，有趣的是，这种关于树木本质效用的工具主义话语也包括一种主张，即自然作为一个人有权受到尊重。因此，本文将和声置于其文化语境中；它分析了劳赫对植物王国的不同态度，并最终思考了贯穿这篇发人深省的文本的概念张力。
{"title":"Arboreal Values: Reconsidering the “plantes si sensibles, si merveilleuses, si intelligentes” of Rauch’s Harmonie hydro-végétale et météorologique","authors":"Giulia Pacini","doi":"10.1353/ncf.2023.0007","DOIUrl":"https://doi.org/10.1353/ncf.2023.0007","url":null,"abstract":"Abstract:This essay examines shifting understandings of the vegetal in the first edition of Rauch’s Harmonie hydro-végétale et météorologique (1802). In this two-volume treatise which denounces the consequences of deforestation and calls for an intensive state-sponsored sylvicultural program, Rauch arg ued that twenty million more acres of trees were needed to redress the French climate, to arrest the calamitous meteorological phenomena that were destroying the country, and to provide food and energy for the nation. Interestingly, however, this instrumentalist discourse on the quintessential utility of trees also includes a claim that nature holds the right to be respected as a person. This article therefore places Harmonie in its cultural context; it analyzes Rauch’s different attitudes toward the plant kingdom, and ultimately considers the conceptual tensions running through this thought-provoking text.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"51 1","pages":"153 - 168"},"PeriodicalIF":0.2,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48786741","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In 1850 and 1851, two plays staged at the Porte Saint-Martin theatre featured working class heroines: Jenny l’ouvrière, drame en cinq actes by Jules Barbier and Adrien Decourcelles, and Claudie, drame en trois actes by George Sand. Both plays reflect major challenges facing society in the 1850s following the revolution of 1848 and the bloody days of June: poverty, lack of work, the condition of women in the city and in the countryside. Despite the efforts of government censors to eliminate the subversive aspects of these two plays, their spatial organization continued to question the distinction between social classes. (In French.)
{"title":"Contestation sociale et spatiale dans Jenny l’ouvrière et Claudie","authors":"J. Best","doi":"10.1353/ncf.2023.0002","DOIUrl":"https://doi.org/10.1353/ncf.2023.0002","url":null,"abstract":"Abstract:In 1850 and 1851, two plays staged at the Porte Saint-Martin theatre featured working class heroines: Jenny l’ouvrière, drame en cinq actes by Jules Barbier and Adrien Decourcelles, and Claudie, drame en trois actes by George Sand. Both plays reflect major challenges facing society in the 1850s following the revolution of 1848 and the bloody days of June: poverty, lack of work, the condition of women in the city and in the countryside. Despite the efforts of government censors to eliminate the subversive aspects of these two plays, their spatial organization continued to question the distinction between social classes. (In French.)","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"51 1","pages":"231 - 246"},"PeriodicalIF":0.2,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41342717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Based on a corpus of nine plays performed between 1870 and 1900, this article sets out to define the naturalist social drama, to determine its generic criteria, and to explore its representations of the working-class milieu, which involve an engagement with political discourse as well as a degree of theatrical innovation. While social struggle and working-class life correspond to the project of “living truth” carried out by naturalist theatre, they are also the object of a spectacularisation that seems to contradict, a priori, its ethno-sociographic ambition. The notion of spectacular realism is thus put forward as an effective way of thinking about the genre. (In French.)
{"title":"Le drame social naturaliste: tranches de vies ouvrières (1870–1900)","authors":"Marie-Astrid Charlier","doi":"10.1353/ncf.2023.0005","DOIUrl":"https://doi.org/10.1353/ncf.2023.0005","url":null,"abstract":"Abstract:Based on a corpus of nine plays performed between 1870 and 1900, this article sets out to define the naturalist social drama, to determine its generic criteria, and to explore its representations of the working-class milieu, which involve an engagement with political discourse as well as a degree of theatrical innovation. While social struggle and working-class life correspond to the project of “living truth” carried out by naturalist theatre, they are also the object of a spectacularisation that seems to contradict, a priori, its ethno-sociographic ambition. The notion of spectacular realism is thus put forward as an effective way of thinking about the genre. (In French.)","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"51 1","pages":"273 - 287"},"PeriodicalIF":0.2,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41642835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:By bringing together Joris-Karl Huysmans’s novella À vau-l’eau, his short story “La Retraite de Monsieur Bougran” (1888), and his personal writing, I argue that bureaucratic labor produces an affective atmosphere of ennui and disgust that defines both Huysmans’s œuvre and how he and his contemporaries understand and represent modernity. As Huysmans’s work suggests, the repetition and perceived meaninglessness of bureaucratic writing produces emotional and physical effects on the body of the bureaucrat by delimiting the patterns of his daily life. In representing the feelings of ennui and disgust that emerge from these effects on his literary bureaucrats, and himself, Huysmans reveals a larger cultural anxiety over the role of bureaucracy in modern life and its implications for non-bureaucratic writing in the modern age. In particular, these anxieties play out in the rampant anti-fonctionnarisme and broader affective crisis, the shared pessimisme, at the end of the nineteenth century.
摘要：通过将Joris Karl Huysmans的中篇小说《vau-l’eau》、他的短篇小说《Bougran先生的休养》（1888年）和他的个人写作结合在一起，我认为官僚劳动产生了一种厌倦和厌恶的情感氛围，这既定义了Huysman斯的作品，也定义了他和同时代人如何理解和代表现代性。正如Huysmans的作品所表明的那样，官僚写作的重复和被感知的无意义通过界定官僚的日常生活模式，对官僚的身体产生了情感和身体影响。在表现这些影响对他的文学官僚和他自己产生的厌倦感和厌恶感时，Huysmans揭示了一种更大的文化焦虑，即官僚在现代生活中的作用及其对现代非官僚写作的影响。特别是，这些焦虑表现在19世纪末猖獗的反行动主义和更广泛的情感危机中，即共同的悲观主义。
{"title":"Bureaucratic Modernity: Huysmans as “rond-de-cuir”","authors":"Michael Telfer","doi":"10.1353/ncf.2023.0008","DOIUrl":"https://doi.org/10.1353/ncf.2023.0008","url":null,"abstract":"Abstract:By bringing together Joris-Karl Huysmans’s novella À vau-l’eau, his short story “La Retraite de Monsieur Bougran” (1888), and his personal writing, I argue that bureaucratic labor produces an affective atmosphere of ennui and disgust that defines both Huysmans’s œuvre and how he and his contemporaries understand and represent modernity. As Huysmans’s work suggests, the repetition and perceived meaninglessness of bureaucratic writing produces emotional and physical effects on the body of the bureaucrat by delimiting the patterns of his daily life. In representing the feelings of ennui and disgust that emerge from these effects on his literary bureaucrats, and himself, Huysmans reveals a larger cultural anxiety over the role of bureaucracy in modern life and its implications for non-bureaucratic writing in the modern age. In particular, these anxieties play out in the rampant anti-fonctionnarisme and broader affective crisis, the shared pessimisme, at the end of the nineteenth century.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"51 1","pages":"169 - 184"},"PeriodicalIF":0.2,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44665458","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Thomas l’imprimeur, an 1843 drame mêlé de chansons by Victor Roger, took advantage of vaudeville conventions, which relied on language with multiple meanings and physical comedy, to comment on the Tarif of 1843, an agreement that Parisian printers and print-shop owners had made about establishing uniform rates for typesetting and composition. By reading Thomas with the Mémoires of Joseph Mairet, one of the printers involved in negotiating the Tarif, we can account for the play’s generic fluidity. The vaudeville-style opening scene prepares audiences for a degree of critical distance that allows them to see the Tarif behind a plot that acts it out rather than speaking of it, and the melodramatic virtue of the printer hero invites admiration for the social efforts print workers are making. Both approaches show the physical heroism of printers, whether or not they speak directly of the forms that heroism has taken most recently.
{"title":"“Une imprimerie, c’est comme un théâtre”: Victor Roger’s Thomas l’imprimeur (1843)","authors":"Cary Hollinshead-Strick","doi":"10.1353/ncf.2023.0003","DOIUrl":"https://doi.org/10.1353/ncf.2023.0003","url":null,"abstract":"Abstract:Thomas l’imprimeur, an 1843 drame mêlé de chansons by Victor Roger, took advantage of vaudeville conventions, which relied on language with multiple meanings and physical comedy, to comment on the Tarif of 1843, an agreement that Parisian printers and print-shop owners had made about establishing uniform rates for typesetting and composition. By reading Thomas with the Mémoires of Joseph Mairet, one of the printers involved in negotiating the Tarif, we can account for the play’s generic fluidity. The vaudeville-style opening scene prepares audiences for a degree of critical distance that allows them to see the Tarif behind a plot that acts it out rather than speaking of it, and the melodramatic virtue of the printer hero invites admiration for the social efforts print workers are making. Both approaches show the physical heroism of printers, whether or not they speak directly of the forms that heroism has taken most recently.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"51 1","pages":"247 - 257"},"PeriodicalIF":0.2,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44780126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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