Abstract:Jean Charles-Brun (1870–1946), best known as a regionalist activist, became interested in the theater early on: it was certainly from there that he consolidated his discourse on the relationship between art and society. Years before the courses on the social novel in nineteenth-century France that he gave at the Collège libre des sciences sociales, Charles-Brun had delivered several lectures on social theater in the same institution (1898–99, 1908–09). These lectures were never published, but traces of them remain in an unpublished notebook kept in the archives of the MuCEM in Marseille. The genetic study of this document does not make it possible to determine the specific content of the lectures. But, by placing the references it mobilizes in the ideological context of the day, and by reading these references in relation to the speaker’s social networks, we can glimpse the difficulties involved in defending “social theater,” such as it was promoted, in particular, by the movement of the “Universités populaires,” before a largely bourgeois, even “mondain” public. (In French.)
{"title":"Le cours de l’action sociale: Jean Charles-Brun et le théâtre","authors":"Sarah Al-matary","doi":"10.1353/ncf.2023.0006","DOIUrl":"https://doi.org/10.1353/ncf.2023.0006","url":null,"abstract":"Abstract:Jean Charles-Brun (1870–1946), best known as a regionalist activist, became interested in the theater early on: it was certainly from there that he consolidated his discourse on the relationship between art and society. Years before the courses on the social novel in nineteenth-century France that he gave at the Collège libre des sciences sociales, Charles-Brun had delivered several lectures on social theater in the same institution (1898–99, 1908–09). These lectures were never published, but traces of them remain in an unpublished notebook kept in the archives of the MuCEM in Marseille. The genetic study of this document does not make it possible to determine the specific content of the lectures. But, by placing the references it mobilizes in the ideological context of the day, and by reading these references in relation to the speaker’s social networks, we can glimpse the difficulties involved in defending “social theater,” such as it was promoted, in particular, by the movement of the “Universités populaires,” before a largely bourgeois, even “mondain” public. (In French.)","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"51 1","pages":"288 - 307"},"PeriodicalIF":0.2,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43352089","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 article examines nineteenth-century melodramas that featured live animals, the abuse of which awakened in the audience feelings of commiseration and humaneness. By analyzing the work of playwrights in the line of Guilbert de Pixerécourt, Eugène Scribe, Edmond Rochefort, Ferdinand Langlé, Philippe François Pinel Dumanoir, Adolphe D’Enner y, Ferdinand La loue, Fabrice Labrousse, Théodore Barrière and Léon Beauvallet, among many others, we may better understand the path that both led to and followed the passing of the first law aimed at defending and protecting animals in France: the 1850 Loi Grammont. Some of the plays paved the way towards this legal shift, and some reflected its precepts in the aftermath of the act, stirring feelings of empathy towards animals amongst theatregoers. The ultimate objective of these plays was not the defense of animals per se (in the modern sense). However, their arousal of emotions linked to a Manichean spectrum of moral behaviors ranging from good to evil, their penchant for the triumph of virtue, and the pathos resulting from the verbal and physical abuse or, eventually, the (fictional) death of the animals in the melodrama, resonated with a shared feeling of humaneness that was integral to a reflection about what was considered beneficial for society. (In French.)
摘要：本文考察了19世纪以活动物为主角的情节剧，对这些动物的虐待唤醒了观众的同情和人性。通过分析Guilbert de Pixerécourt、Eugène Scribe、Edmond Rochefort、Ferdinand Langlé、Philippe François Pinel Dumanoir、Adolphe D'Enner y、Ferdinand-Laoue、Fabrice Labrousse、Théodore Barrière和Léon Beauvallet等剧作家的作品，我们可能会更好地理解导致和遵循法国第一部旨在保护动物的法律通过的道路：1850年的Loi Grammont。其中一些戏剧为这一法律转变铺平了道路，一些则反映了该行为之后的戒律，在观众中激起了对动物的同情。这些戏剧的最终目的并不是保护动物本身（在现代意义上）。然而，他们对情感的唤起与摩尼教的一系列道德行为有关，从善到恶，他们对美德胜利的嗜好，以及由言语和身体虐待或最终（虚构的）情节剧中动物死亡所产生的悲情，与一种共同的人性感产生共鸣，这种人性感是反思什么被认为对社会有益的不可或缺的一部分。（法语）
{"title":"“Le bon ange de son maître”: mélodrame animalier et théâtre humanitaire","authors":"Ignacio Ramos-Gay","doi":"10.1353/ncf.2023.0001","DOIUrl":"https://doi.org/10.1353/ncf.2023.0001","url":null,"abstract":"Abstract:This article examines nineteenth-century melodramas that featured live animals, the abuse of which awakened in the audience feelings of commiseration and humaneness. By analyzing the work of playwrights in the line of Guilbert de Pixerécourt, Eugène Scribe, Edmond Rochefort, Ferdinand Langlé, Philippe François Pinel Dumanoir, Adolphe D’Enner y, Ferdinand La loue, Fabrice Labrousse, Théodore Barrière and Léon Beauvallet, among many others, we may better understand the path that both led to and followed the passing of the first law aimed at defending and protecting animals in France: the 1850 Loi Grammont. Some of the plays paved the way towards this legal shift, and some reflected its precepts in the aftermath of the act, stirring feelings of empathy towards animals amongst theatregoers. The ultimate objective of these plays was not the defense of animals per se (in the modern sense). However, their arousal of emotions linked to a Manichean spectrum of moral behaviors ranging from good to evil, their penchant for the triumph of virtue, and the pathos resulting from the verbal and physical abuse or, eventually, the (fictional) death of the animals in the melodrama, resonated with a shared feeling of humaneness that was integral to a reflection about what was considered beneficial for society. (In French.)","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"51 1","pages":"210 - 230"},"PeriodicalIF":0.2,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42449971","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}
En 1923, la thèse de David Owen Evans soutenue à l’Université de Paris, Les Problèmes d’actualité au théâtre de l’époque romantique. 1827– 1850, établissait un lien de filiation entre la comédie sérieuse ou le drame des Lumières et le théâtre romantique français, considéré sous son angle social. Ses travaux contribuaient à arracher le drame romantique à une définition strictement formelle ou rhétorique pour envisager sa capacité à traiter les grandes questions morales et sociales contemporaines. Cessant de voir dans la production scénique du romantisme un hapax ou une aberration historique, Evans en faisait le chaînon reliant le théâtre du dixhuitième siècle à la grande comédie du Second Empire (Augier, Dumas fils). Il proposait aussi, dans son ouvrage Le Théâtre pendant la période romantique, de situer les pièces de Hugo, Vigny ou Dumas dans le mouvement plus général du “drame moderne romantique”: ce dernier
1923年，大卫·欧文·埃文斯（David Owen Evans）在巴黎大学（University of Paris）为他的论文《浪漫主义时代戏剧中的当前问题》进行了辩护。1827-1850年，从社会角度来看，它在严肃喜剧或卢米埃戏剧与法国浪漫主义戏剧之间建立了亲缘关系。他的作品有助于将浪漫主义戏剧从严格的形式或修辞定义中剥离出来，以考虑其处理当代重大道德和社会问题的能力。埃文斯不再将浪漫主义的舞台作品视为一种哈帕克斯或历史反常现象，而是将其视为连接十八世纪剧院和第二帝国伟大喜剧（奥吉尔，大仲马之子）的纽带。在他的《浪漫主义时期的戏剧》一书中，他还建议将雨果、维尼或大仲马的戏剧置于“浪漫现代戏剧”的更广泛运动中：
{"title":"Introduction: Théâtre social, drame humanitaire","authors":"Olivier Bara","doi":"10.1353/ncf.2023.0009","DOIUrl":"https://doi.org/10.1353/ncf.2023.0009","url":null,"abstract":"En 1923, la thèse de David Owen Evans soutenue à l’Université de Paris, Les Problèmes d’actualité au théâtre de l’époque romantique. 1827– 1850, établissait un lien de filiation entre la comédie sérieuse ou le drame des Lumières et le théâtre romantique français, considéré sous son angle social. Ses travaux contribuaient à arracher le drame romantique à une définition strictement formelle ou rhétorique pour envisager sa capacité à traiter les grandes questions morales et sociales contemporaines. Cessant de voir dans la production scénique du romantisme un hapax ou une aberration historique, Evans en faisait le chaînon reliant le théâtre du dixhuitième siècle à la grande comédie du Second Empire (Augier, Dumas fils). Il proposait aussi, dans son ouvrage Le Théâtre pendant la période romantique, de situer les pièces de Hugo, Vigny ou Dumas dans le mouvement plus général du “drame moderne romantique”: ce dernier","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"51 1","pages":"185 - 195"},"PeriodicalIF":0.2,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45534179","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 article studies Félix Pyat’s and Eugène Sue’s 1842 drama, Mathilde, in order to show how money serves as a lever of power used to challenge and contest traditional moral values, the integrity of the family, and the foundations of social organization. Lugarto, the drama’s wealthy and unscrupulous villain, is both a racial outsider and a social interloper who takes advantage of the secrets he has uncovered and the prestige afforded by the fortune he has inherited to bend others to his will. The play also highlights the way money, gender and the law intersect to circumscribe the lives of women. Because the representation of women is determined here by actual historical forces, the status of women as virtuous victims is made somewhat more realistic than it had been in melodramas earlier in the century. (In French.)
{"title":"Conflits sociaux, moraux et économiques dans Mathilde de Félix Pyat et Eugène Sue","authors":"B. T. Cooper","doi":"10.1353/ncf.2023.0000","DOIUrl":"https://doi.org/10.1353/ncf.2023.0000","url":null,"abstract":"Abstract:This article studies Félix Pyat’s and Eugène Sue’s 1842 drama, Mathilde, in order to show how money serves as a lever of power used to challenge and contest traditional moral values, the integrity of the family, and the foundations of social organization. Lugarto, the drama’s wealthy and unscrupulous villain, is both a racial outsider and a social interloper who takes advantage of the secrets he has uncovered and the prestige afforded by the fortune he has inherited to bend others to his will. The play also highlights the way money, gender and the law intersect to circumscribe the lives of women. Because the representation of women is determined here by actual historical forces, the status of women as virtuous victims is made somewhat more realistic than it had been in melodramas earlier in the century. (In French.)","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"51 1","pages":"196 - 209"},"PeriodicalIF":0.2,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48947879","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:The present article considers stage representations of alcohol issues in the French working class from the July Monarchy to the Third Republic, through four plays: a vaudeville (Plus de jeudi, by Victor Ducange and Anicet Bourgeois, 1838), two examples of “humanitarian theater”—Marie-Jeanne, ou la Femme du peuple (1845), by Adolphe Dennery and Julien de Mallian, and Le Chiffonnier de Paris (1847), by Félix Pyat—and a “social drama” (L’Assommoir, a theatrical adaptation of Zola’s novel by William Busnach and Octave Gastineau, 1879). According to its own genre, each play stages alcohol-related harms: disorders and troubled gestures, postures, or movements are either seen or heard. This aesthetics of excess exhibits, either in a comic or a (melo)dramatic manner, the consequences of alcoholism leading to denouements: abusive drinking leads characters to the brink of catastrophe, and it ceases once they are persuaded to proclaim their temperance. (In French.)
摘要：本文通过四部戏剧探讨了从七月君主制到第三共和国法国工人阶级中酒精问题的舞台表现：一部杂耍剧（维克多·杜尚热和阿尼塞特·布尔乔亚的《加上杰迪》，1838年），两部“人道主义戏剧”的例子——玛丽·珍妮，阿道夫·丹纳里和朱利安·德·马利安的《人民的女人》（1845年），以及费利克斯·皮亚特（Félix Pyat）的《巴黎雪纺》（Le Chiffonier de Paris）（1847年），以及一部“社会戏剧”（L’Assommir，由威廉·布斯纳赫（William Busnach）和奥克塔夫·加斯蒂诺（Octave Gastineau）根据左拉的小说改编的戏剧，1879年）。根据自己的类型，每部剧都会上演与酒精相关的伤害：人们要么看到要么听到障碍和麻烦的手势、姿势或动作。这种过度的美学以喜剧或（情节剧）戏剧的方式展示了酗酒导致结局的后果：酗酒将角色推向灾难的边缘，一旦他们被说服宣布戒酒，这种情况就会停止。（法语）
{"title":"Tentations spectaculaires: quelques représentations théâtrales de l’alcoolisme ouvrier, de la monarchie de Juillet à la Troisième République","authors":"Marjolaine Forest","doi":"10.1353/ncf.2023.0004","DOIUrl":"https://doi.org/10.1353/ncf.2023.0004","url":null,"abstract":"Abstract:The present article considers stage representations of alcohol issues in the French working class from the July Monarchy to the Third Republic, through four plays: a vaudeville (Plus de jeudi, by Victor Ducange and Anicet Bourgeois, 1838), two examples of “humanitarian theater”—Marie-Jeanne, ou la Femme du peuple (1845), by Adolphe Dennery and Julien de Mallian, and Le Chiffonnier de Paris (1847), by Félix Pyat—and a “social drama” (L’Assommoir, a theatrical adaptation of Zola’s novel by William Busnach and Octave Gastineau, 1879). According to its own genre, each play stages alcohol-related harms: disorders and troubled gestures, postures, or movements are either seen or heard. This aesthetics of excess exhibits, either in a comic or a (melo)dramatic manner, the consequences of alcoholism leading to denouements: abusive drinking leads characters to the brink of catastrophe, and it ceases once they are persuaded to proclaim their temperance. (In French.)","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"51 1","pages":"258 - 272"},"PeriodicalIF":0.2,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42783338","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 : 2022-11-01DOI: 10.5325/ninecentstud.34.0001
Christa DiMarco
Vincent van Gogh generated around 150 paintings, plus drawings and works on paper, while he lived in Paris from 1886 through 1888. Scholars tend to focus on the paintings he made after he left the capital for the Provençal town of Arles. Iconic Arlesian images such as Night Café and Sunflowers have overshadowed the Paris-period paintings and, in turn, the sociocultural underpinnings of his oeuvre. This essay focuses on one of the largest bodies of imagery Van Gogh completed in Paris: a series depicting small gardens for the working class that sprawled down a hill behind a popular tourist attraction on the Butte Montmartre. These works have been seen as depictions of rural Montmartre, but the essay locates them in the context of tourism and also connects them to Émile Zola’s 1873 novel Le Ventre de Paris. In doing so, the author views Van Gogh’s seemingly traditional landscapes as departing from the pictorial compositions he studied and embracing instead a pictorial frame that conveys the subjugation of the working class amid social reform efforts related to communal gardens.
{"title":"Van Gogh’s Parisian Gardens on the Butte Montmartre","authors":"Christa DiMarco","doi":"10.5325/ninecentstud.34.0001","DOIUrl":"https://doi.org/10.5325/ninecentstud.34.0001","url":null,"abstract":"\u0000 Vincent van Gogh generated around 150 paintings, plus drawings and works on paper, while he lived in Paris from 1886 through 1888. Scholars tend to focus on the paintings he made after he left the capital for the Provençal town of Arles. Iconic Arlesian images such as Night Café and Sunflowers have overshadowed the Paris-period paintings and, in turn, the sociocultural underpinnings of his oeuvre. This essay focuses on one of the largest bodies of imagery Van Gogh completed in Paris: a series depicting small gardens for the working class that sprawled down a hill behind a popular tourist attraction on the Butte Montmartre. These works have been seen as depictions of rural Montmartre, but the essay locates them in the context of tourism and also connects them to Émile Zola’s 1873 novel Le Ventre de Paris. In doing so, the author views Van Gogh’s seemingly traditional landscapes as departing from the pictorial compositions he studied and embracing instead a pictorial frame that conveys the subjugation of the working class amid social reform efforts related to communal gardens.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"6 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83240377","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 : 2022-11-01DOI: 10.5325/ninecentstud.34.0095
Mari Réthelyi
In late nineteenth century Hungary, progressive Jewish (Neolog) scholars wrote several articles in Neolog journals publicly supporting theories of common ancestry and race with Hungarians. They created a unique identity for themselves through discussions of common origin and history, making Jews into Hungarians. One of their main theories was that of Khazar ancestry, which, despite being controversial even in its own time, enabled stories of a common Judeo-Hungarian past and race to emerge. The Hungarian nationalism that was key to their self-definition underlay all arguments concerning the nature and ancestry of Hungarian Jewish identity. They not only created histories compatible with those of the Hungarians but also molded them into something new. Examining their narratives, we can rethink the conceptual framework of the modern Jewish experience and see the successes of integration from the minority’s point of view. In this way, we can detect another perspective on history, one that does not define the modern European Jewish experience as a story of either the success or the failure of assimilation as measured by the severity of anti-Semitism but allows the minority’s voice come to light.
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Pub Date : 2022-11-01DOI: 10.5325/ninecentstud.34.0077
A. Goulet
This essay builds on recent scholarship on romans d’anticipation and the popular press to read French Edisonades by Auguste Villiers de l’Isle-Adam (L’Ève future, Contes cruels), Alphonse Allais (“La Vérité sur l’exposition de Chicago,” “Supériorité de la vie américaine sur la nôtre,” etc.), and Gustave Le Rouge and Gustave Guitton (La Conspiration des milliardaires) as marking a fundamental anxiety about France’s slipping world-power status in the face of America’s industrial and economic ascendancy. In these fin de siècle technological fictions, the American inventor emerges as an ambivalent figure hovering between scientific genius and hucksterish humbuggery. The real-life rivalry between Thomas Alva Edison and Charles Cros over the 1878 invention of the phonograph led to satiric forms of resistance to the United States as a land of vulgar mercantile utilitarianism threatening to decenter Paris as the cultural capital of the nineteenth century. Although evolving drafts of Villiers’s metaphysical novel seem to highlight the divine creative potential of “le ‘Sorcier de Menlo Park,’” L’Ève future retains less idealistic references to Edison’s commercial side as a Barnum-like businessman from America. Meanwhile, Le Rouge and Guitton’s fantasy of French scientific triumph over American millionaires counters the troubling lure of technical wonder and speculative energy from the land of the almighty dollar.
这篇文章建立在最近对罗马人的期待和大众媒体的研究基础上，以阅读奥古斯特·维列斯·德·伊尔-亚当(l ' Ève未来，Contes残酷)，阿尔方斯·阿莱(La vv ririt sur l ' exposition de Chicago)，“supsamriorit de La vie amacriaine sur La nôtre，”以及古斯塔夫·勒·Rouge和古斯塔夫·吉顿(《百万富翁的阴谋》)，认为这标志着一种根本性的焦虑，即面对美国的工业和经济优势，法国的世界大国地位正在下滑。在这些完美的科技小说中，这位美国发明家以一个矛盾的形象出现，徘徊在科学天才和骗子之间。托马斯·阿尔瓦·爱迪生(Thomas Alva Edison)和查尔斯·克罗斯(Charles cross)在1878年发明留声机的问题上的现实竞争，引发了对美国的讽刺，人们认为美国是一个庸俗的商业功利主义之地，有可能使巴黎失去19世纪文化之都的地位。尽管维里耶斯这部玄学小说的不断发展的初稿似乎突出了《门洛公园的魔法师》(le ' Sorcier de Menlo Park)神圣的创造潜力，但《Ève未来》对爱迪生作为一个像巴纳姆一样的美国商人的商业一面保留了不那么理想主义的提及。与此同时，Le Rouge和Guitton对法国科学战胜美国百万富翁的幻想，抵制了来自全能美元国度的技术奇迹和投机能量的令人不安的诱惑。
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Pub Date : 2022-11-01DOI: 10.5325/ninecentstud.34.0042
Lauren A Cameron
Alfred Russel Wallace is generally presented as a footnote in scientific and cultural history, a young man whose letter spurred Darwin to publish his epoch-making On the Origin of Species, but little else. A spate of recent scholarly interest in him has, however, worked to recover his important and multifaceted place in British cultural history. This essay examines his positioning of himself as the standard bearer of Darwinian thought toward the end of his life and after much of Darwin’s scientific circle had died. His 1889 Darwinism subversively rewrites Darwin’s ideas and promotes what this article terms Wallaceism, a version of Darwinian evolutionary theory in which he positions himself as Darwin’s champion but also alters some of Darwin’s arguments in light of his own 1886–87 lecture tour of America. Analyzing public discourse on Wallace’s cultural reception from Anglo-American periodicals using both quantitative and qualitative methods, this essay comes to consider his rise to cultural prominence in the United States at the turn of the century and his subsequent fall.
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Pub Date : 2022-11-01DOI: 10.5325/ninecentstud.34.0061
Vanessa Meikle Schulman
Narrating the events leading up to the death of the small-town photographer Marsena Pulford, Harold Frederic’s novella Marsena (1894) is an overlooked but important work of historical fiction set during the American Civil War. This article examines how the medium of photography serves as Marsena’s thematic underpinning, allowing Frederic to engage with the reputation of photography as a tool for recording truth and shaping historical memory. It discusses Marsena in the context of the late nineteenth-century literary response to the Civil War. Understanding the novella’s historical positioning also requires examination of the ways in which the photographic medium was imagined in the 1860s and again in the 1890s, when Frederic was writing. The process of writing a historical novel of the Civil War in the 1890s was always already shaped by the photographic record of the war, and Frederic’s choice of a profession for Marsena is not accidental. Instead, the medium of photography allows an exploration of larger thematic concerns about how the arts are used to represent and remember traumatic events of the past.
{"title":"“The universal notion of being photographed”: Memory and Medium in Harold Frederic’s Civil War Novella Marsena","authors":"Vanessa Meikle Schulman","doi":"10.5325/ninecentstud.34.0061","DOIUrl":"https://doi.org/10.5325/ninecentstud.34.0061","url":null,"abstract":"\u0000 Narrating the events leading up to the death of the small-town photographer Marsena Pulford, Harold Frederic’s novella Marsena (1894) is an overlooked but important work of historical fiction set during the American Civil War. This article examines how the medium of photography serves as Marsena’s thematic underpinning, allowing Frederic to engage with the reputation of photography as a tool for recording truth and shaping historical memory. It discusses Marsena in the context of the late nineteenth-century literary response to the Civil War. Understanding the novella’s historical positioning also requires examination of the ways in which the photographic medium was imagined in the 1860s and again in the 1890s, when Frederic was writing. The process of writing a historical novel of the Civil War in the 1890s was always already shaped by the photographic record of the war, and Frederic’s choice of a profession for Marsena is not accidental. Instead, the medium of photography allows an exploration of larger thematic concerns about how the arts are used to represent and remember traumatic events of the past.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"25 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83624488","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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