Abstract:Théophile Gautier traveled a lot, and far. His travels, especially in the East, have often been studied from the angle of exoticism, travelogue or even art. But it is the motivation and the terms of the itinerary that will be the subject of this article. Indeed, such a craze for travel is surprising on the part of a writer who, originally, liked to proclaim the charms of motionless travel and make fun of the fashion of what was not yet called "tourism." What is the origin of the given impulse? Looking closely at the line it draws from the point of departure to the point of arrival, we see that the journey according to Gautier is constantly being deconstructed. The broken line, the zigzag and all the figures of the detour seem to correspond, in space, to the figure of the paradox which governs the work of the writer. (In French)
{"title":"Zigzags, revirements et circonvolutions: les voyages excentriques et exotiques de Théophile Gautier","authors":"Ji Eun Hong","doi":"10.1353/ncf.2022.0014","DOIUrl":"https://doi.org/10.1353/ncf.2022.0014","url":null,"abstract":"Abstract:Théophile Gautier traveled a lot, and far. His travels, especially in the East, have often been studied from the angle of exoticism, travelogue or even art. But it is the motivation and the terms of the itinerary that will be the subject of this article. Indeed, such a craze for travel is surprising on the part of a writer who, originally, liked to proclaim the charms of motionless travel and make fun of the fashion of what was not yet called \"tourism.\" What is the origin of the given impulse? Looking closely at the line it draws from the point of departure to the point of arrival, we see that the journey according to Gautier is constantly being deconstructed. The broken line, the zigzag and all the figures of the detour seem to correspond, in space, to the figure of the paradox which governs the work of the writer. (In French)","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"51 1","pages":"52 - 67"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47367896","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:At a time when students and academics are grappling with the cultural legacies of misogyny, Lisa Robertson's novel The Baudelaire Fractal (2020) offers a challenging, creative mode of engagement with the male canon. It describes the journey into writing of Hazel Brown, a young woman whose painful encounter with Baudelaire's misogyny inspires not a rejection but an appropriation: one day she discovers within herself the authorship of Baudelaire's complete works, expressed as a bodily commingling: "that female mouth was both his and mine." Hazel's methods of self-expression echo those of both the French pioneers of écriture féminine and recent menstrual theorists, figuring her girlhood as a bloodstain which makes female subjectivity visible. I explore how Hazel transforms Baudelaire and his texts, blurring gender boundaries and fusing with him in a symbiotic, non-hierarchical relationship. What emerges is a defence of reading as the work of a desire which is borderless, encouraging us to persevere with, and to embrace, "the difficult texture of difference."
{"title":"Baudelaire as a Girl: Writing Through Problematic Legacies in Lisa Robertson's The Baudelaire Fractal","authors":"Dave Evans","doi":"10.1353/ncf.2022.0015","DOIUrl":"https://doi.org/10.1353/ncf.2022.0015","url":null,"abstract":"Abstract:At a time when students and academics are grappling with the cultural legacies of misogyny, Lisa Robertson's novel The Baudelaire Fractal (2020) offers a challenging, creative mode of engagement with the male canon. It describes the journey into writing of Hazel Brown, a young woman whose painful encounter with Baudelaire's misogyny inspires not a rejection but an appropriation: one day she discovers within herself the authorship of Baudelaire's complete works, expressed as a bodily commingling: \"that female mouth was both his and mine.\" Hazel's methods of self-expression echo those of both the French pioneers of écriture féminine and recent menstrual theorists, figuring her girlhood as a bloodstain which makes female subjectivity visible. I explore how Hazel transforms Baudelaire and his texts, blurring gender boundaries and fusing with him in a symbiotic, non-hierarchical relationship. What emerges is a defence of reading as the work of a desire which is borderless, encouraging us to persevere with, and to embrace, \"the difficult texture of difference.\"","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"178 11","pages":"68 - 89"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41275284","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 her numerous romans à clef like La Marquise de Sade and Les Rageac, as well as her more explicitly autobiographical texts like Dans le puits and Face à la peur, Rachilde tells a series of anecdotes that underscore her deep investment in animal ethics. Throughout her autobiographical œuvre, Rachilde constructs her alter ego of the writerly loup-garou, whose zealous animal activism is determined by both her lupine kinship, as well as her Decadent aesthetic value system, which sees in the animal a radical individualism and a feral beauty that is at odds with the ugly, vivisecting brutality underlying positivist ideals. The present paper explores the parameters of her animal ethics, paying close attention to the ways in which her sympathy for animals aligns not only with her broader Decadent enterprise, but also a proto-ecofeminism invested in the blurring of gender and species-based hierarchical binaries.
摘要：在《萨德侯爵》（La Marquise de Sade）和《拉杰》（Les Rageac。在她的自传体作品中，Rachilde构建了她作为作家的另一个自我，她的热情的动物行动主义既由她的羽扇豆亲缘关系决定，也由她的颓废美学价值体系决定，该体系在动物身上看到了激进的个人主义和野性之美，这与实证主义理想背后丑陋的、活体解剖的残暴相矛盾。本文探讨了她的动物伦理参数，密切关注她对动物的同情不仅与她更广泛的“衰退”事业相一致，而且与一种原始生态女权主义相一致，这种女权主义致力于模糊基于性别和物种的等级二元。
{"title":"The Decadent Werewolf: Animal Ethics in the Autobiographical Rachilde","authors":"C. Robison","doi":"10.1353/ncf.2022.0018","DOIUrl":"https://doi.org/10.1353/ncf.2022.0018","url":null,"abstract":"Abstract:In her numerous romans à clef like La Marquise de Sade and Les Rageac, as well as her more explicitly autobiographical texts like Dans le puits and Face à la peur, Rachilde tells a series of anecdotes that underscore her deep investment in animal ethics. Throughout her autobiographical œuvre, Rachilde constructs her alter ego of the writerly loup-garou, whose zealous animal activism is determined by both her lupine kinship, as well as her Decadent aesthetic value system, which sees in the animal a radical individualism and a feral beauty that is at odds with the ugly, vivisecting brutality underlying positivist ideals. The present paper explores the parameters of her animal ethics, paying close attention to the ways in which her sympathy for animals aligns not only with her broader Decadent enterprise, but also a proto-ecofeminism invested in the blurring of gender and species-based hierarchical binaries.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"51 1","pages":"121 - 135"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47515130","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:Taking a cognitive approach to Huysmans's 1887 novel En rade, this article studies the writer's aesthetic transmutation of the theories of Wilhelm Wundt (1832–1920)—a figure widely known as one of the founders of modern psychology. The protagonist, Jacques Marles, invokes Wundt's claim that an extended foot during sleep may prompt the experience of falling in a dream. This explanation has led critics to cast Wundt as a foil for psychoanalytic readings, dismissing wholesale his writings despite their pertinence to the author's portrayal of Jacques's errant thought. Considering Wundt's perspectives on the mediating work of consciousness, I examine Huysmans's use of the scientist's ideas on the physiological unconscious, reaction times, and apperception to portray the struggle of the conscious mind when confronted with its unconscious other. In so doing, I argue that ennui functions as the conscious register of unconscious activity to become an agent of psychic change over time.
{"title":"J.-K. Huysmans with Wilhelm Wundt: Ennui, or a Mind-Body Problem","authors":"John D'amico","doi":"10.1353/ncf.2022.0019","DOIUrl":"https://doi.org/10.1353/ncf.2022.0019","url":null,"abstract":"Abstract:Taking a cognitive approach to Huysmans's 1887 novel En rade, this article studies the writer's aesthetic transmutation of the theories of Wilhelm Wundt (1832–1920)—a figure widely known as one of the founders of modern psychology. The protagonist, Jacques Marles, invokes Wundt's claim that an extended foot during sleep may prompt the experience of falling in a dream. This explanation has led critics to cast Wundt as a foil for psychoanalytic readings, dismissing wholesale his writings despite their pertinence to the author's portrayal of Jacques's errant thought. Considering Wundt's perspectives on the mediating work of consciousness, I examine Huysmans's use of the scientist's ideas on the physiological unconscious, reaction times, and apperception to portray the struggle of the conscious mind when confronted with its unconscious other. In so doing, I argue that ennui functions as the conscious register of unconscious activity to become an agent of psychic change over time.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"51 1","pages":"136 - 152"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44988601","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:Charles Nodier's longest fairytale, La Fée aux miettes, seems an "Anatomy" in Northrop Frye's sense of the word—a medley of literary genres typical of "the self-conscious tradition" familiar to Nodier from Sterne's Tristram Shandy and Diderot's Neveu de Rameau, winding through a labyrinth and ending without a decisive ending. But Nodier repeatedly foreshadows his belief that the sixth "day" (epoch) of Creation has not yet been completed, and that, analogous to more ancient versions of the Biblical prophets, benevolent and superior beings have already descended to earth to help guide humans during their final phase of evolution. The early scenes where the Fée helps young students with their thèmes et versions link France with remote regions of the world, and advance God's plan for completing the creation by uniting it.
摘要：Charles Nodier最长的童话故事《La Fée aux miettes》似乎是诺斯罗普·弗莱（Northrop Frye）意义上的“解剖”——这是Nodier从斯特恩（Sterne）的《特里斯特拉姆·尚迪》（Tristram Shandy）和狄德罗（Diderot）的《Neveu de Rameau》中熟悉的典型“自我意识传统”的文学流派的混合体，蜿蜒曲折，没有决定性的结局。但Nodier一再预示着他的信念，即创造的第六个“天”（纪元）尚未完成，与更古老版本的《圣经》先知类似，仁慈和卓越的存在已经降临地球，在人类进化的最后阶段帮助引导人类。早期的场景中，Fée帮助年轻学生制作他们的thèmes et版本，将法国与世界上的偏远地区联系起来，并通过团结起来推进上帝完成创造的计划。
{"title":"Fragmentation or Fusion: The Theme of Restoration in Nodier's Masterwork, La Fée aux miettes","authors":"L. M. Porter","doi":"10.1353/ncf.2022.0012","DOIUrl":"https://doi.org/10.1353/ncf.2022.0012","url":null,"abstract":"Abstract:Charles Nodier's longest fairytale, La Fée aux miettes, seems an \"Anatomy\" in Northrop Frye's sense of the word—a medley of literary genres typical of \"the self-conscious tradition\" familiar to Nodier from Sterne's Tristram Shandy and Diderot's Neveu de Rameau, winding through a labyrinth and ending without a decisive ending. But Nodier repeatedly foreshadows his belief that the sixth \"day\" (epoch) of Creation has not yet been completed, and that, analogous to more ancient versions of the Biblical prophets, benevolent and superior beings have already descended to earth to help guide humans during their final phase of evolution. The early scenes where the Fée helps young students with their thèmes et versions link France with remote regions of the world, and advance God's plan for completing the creation by uniting it.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"51 1","pages":"20 - 35"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47564325","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}
Margot Szarke, L. M. Porter, Emily Paterson-Morgan, Ji Eun Hong, David Evans, Mendel Péladeau-Houle, Michael Rosenfeld, C. Robison, John D'amico
Abstract:This essay explores nineteenth-century French texts that depict Jenner's vaccine, highlighting the ways in which literature and print culture played a significant role in vaccination's diffusion by conveying, challenging, and even mocking the impact of the new preventative treatment and its scientific rationale. By examining accounts of the vaccine found in medical treatises, popular journalism, theatrical parody, and poetry, this essay argues that Jenner's discovery crucially provoked social commentary, stylistic experimentation, and meta-discourse as writers on both sides of the issue specifically attended to the mechanics of thought and the usage of rhetorical devices. This essay thus identifies how the vaccine was mobilized by French writers to discuss not only public health and social well-being, but also human understanding and forms of expression.
{"title":"Textual \"Piqûres\": Vaccination in the Hands of Nineteenth-Century French Writers","authors":"Margot Szarke, L. M. Porter, Emily Paterson-Morgan, Ji Eun Hong, David Evans, Mendel Péladeau-Houle, Michael Rosenfeld, C. Robison, John D'amico","doi":"10.1353/ncf.2022.0011","DOIUrl":"https://doi.org/10.1353/ncf.2022.0011","url":null,"abstract":"Abstract:This essay explores nineteenth-century French texts that depict Jenner's vaccine, highlighting the ways in which literature and print culture played a significant role in vaccination's diffusion by conveying, challenging, and even mocking the impact of the new preventative treatment and its scientific rationale. By examining accounts of the vaccine found in medical treatises, popular journalism, theatrical parody, and poetry, this essay argues that Jenner's discovery crucially provoked social commentary, stylistic experimentation, and meta-discourse as writers on both sides of the issue specifically attended to the mechanics of thought and the usage of rhetorical devices. This essay thus identifies how the vaccine was mobilized by French writers to discuss not only public health and social well-being, but also human understanding and forms of expression.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"51 1","pages":"1 - 102 - 103 - 120 - 121 - 135 - 136 - 152 - 19 - 20 - 35 - 36 - 51 - 52 - 67 - 68 - 89 - 90"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42290162","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:Scholars have described the role of women in Zola's Fécondité (1899) as limited primarily to motherhood, citing Marianne's twelve births as the maternal model idealized by the novelist. However, the dossiers préparatoires reveal a different story. Zola describes in detail his many female characters whose intimate desires express their quest for sexual liberty and for control over their own bodies. Although some of the most subversive elements were softened as Zola composed his novel, one can still discern them in the final text. Does this self-censorship reflect Zola's moral judgment of women? Or is it simply a narrative strategy to integrate his scientific theories on population growth? This article's objective is to study the subtle hints that Zola leaves in the novel and which allow for alternative interpretations of his female characters and their sexuality. I shall argue that these hints demonstrate his tacit approval of such characters and their behaviors. (In French)
{"title":"Zola nataliste ou féministe? Pouvoir féminin et sexualités subversives dans Fécondité","authors":"M. Rosenfeld","doi":"10.1353/ncf.2022.0017","DOIUrl":"https://doi.org/10.1353/ncf.2022.0017","url":null,"abstract":"Abstract:Scholars have described the role of women in Zola's Fécondité (1899) as limited primarily to motherhood, citing Marianne's twelve births as the maternal model idealized by the novelist. However, the dossiers préparatoires reveal a different story. Zola describes in detail his many female characters whose intimate desires express their quest for sexual liberty and for control over their own bodies. Although some of the most subversive elements were softened as Zola composed his novel, one can still discern them in the final text. Does this self-censorship reflect Zola's moral judgment of women? Or is it simply a narrative strategy to integrate his scientific theories on population growth? This article's objective is to study the subtle hints that Zola leaves in the novel and which allow for alternative interpretations of his female characters and their sexuality. I shall argue that these hints demonstrate his tacit approval of such characters and their behaviors. (In French)","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"51 1","pages":"103 - 120"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48722996","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 proposes that in his 1842 novel La Femme de trente ans, Honoré de Balzac draws on Lord Byron's depiction of self-deceptive character pathology in Don Juan Canto I, using the British poet's Spanish seduction scene as a template for his own portrayal of the opening moves of an adulterous liaison. Byron's Donna Julia and Balzac's Julie d'Aiglemont display the same disconnection between conscious thought and unconscious gesture, the one repudiating and the other inviting adulterous intimacy. However, although the French novel contains noticeable traces of the English poem, Balzac characteristically deviates in several crucial features, his astute grasp of Don Juan enabling him to make a series of adaptive amplifications which accentuate his heroine's sexual iniquity.
摘要:巴尔扎克在其1842年的小说《La Femme de trente ans》中借鉴了拜伦勋爵在《唐璜》第一章中对自我欺骗的人格病理的描述，将这位英国诗人的西班牙诱惑场景作为他自己描绘通奸关系开始动作的模板。拜伦的Donna Julia和巴尔扎克的Julie d'Aiglemont在有意识的思想和无意识的姿态之间表现出同样的脱节，一个拒绝，另一个邀请通奸的亲密关系。然而，尽管法国小说中有明显的英国诗的痕迹，巴尔扎克在几个关键的特征上偏离了他的特点，他对唐璜的敏锐把握使他能够做出一系列适应性的放大，突出了女主角的性罪恶。
{"title":"\"Dévoiler un amour secret\": Gestures of Adulterous Desire in Byron's Don Juan Canto I and Balzac's La Femme de trente ans","authors":"Emily Paterson-Morgan","doi":"10.1353/ncf.2022.0013","DOIUrl":"https://doi.org/10.1353/ncf.2022.0013","url":null,"abstract":"Abstract:This article proposes that in his 1842 novel La Femme de trente ans, Honoré de Balzac draws on Lord Byron's depiction of self-deceptive character pathology in Don Juan Canto I, using the British poet's Spanish seduction scene as a template for his own portrayal of the opening moves of an adulterous liaison. Byron's Donna Julia and Balzac's Julie d'Aiglemont display the same disconnection between conscious thought and unconscious gesture, the one repudiating and the other inviting adulterous intimacy. However, although the French novel contains noticeable traces of the English poem, Balzac characteristically deviates in several crucial features, his astute grasp of Don Juan enabling him to make a series of adaptive amplifications which accentuate his heroine's sexual iniquity.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"51 1","pages":"36 - 51"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66360068","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:Understood in the sense of the disappearance of the author and the crisis of representation, textualism is a theory of which Mallarmé is considered to be the initiator. Speaking of a poetic textualism or "en acte" (in action), the article studies this idea in Arthur Rimbaud's Les Illuminations. Rather than considering the criticism of the author as a derivative of the deconstruction of the subject, we analyze the writer's disappearance through its representations in "Vies III" and "Enfance V." "Promontoire" and "Enfance II" are used to examine the semantization of two grammatical categories of designation, proper names and deictics. The aim is not to find new models to the 1960s and 1970s era of "la théorie du texte," but to suggest that textualism is constitutive of Modernist poetry. (In French)
{"title":"Rimbaud, un textualisme en acte","authors":"Mendel Péladeau-Houle","doi":"10.1353/ncf.2022.0016","DOIUrl":"https://doi.org/10.1353/ncf.2022.0016","url":null,"abstract":"Abstract:Understood in the sense of the disappearance of the author and the crisis of representation, textualism is a theory of which Mallarmé is considered to be the initiator. Speaking of a poetic textualism or \"en acte\" (in action), the article studies this idea in Arthur Rimbaud's Les Illuminations. Rather than considering the criticism of the author as a derivative of the deconstruction of the subject, we analyze the writer's disappearance through its representations in \"Vies III\" and \"Enfance V.\" \"Promontoire\" and \"Enfance II\" are used to examine the semantization of two grammatical categories of designation, proper names and deictics. The aim is not to find new models to the 1960s and 1970s era of \"la théorie du texte,\" but to suggest that textualism is constitutive of Modernist poetry. (In French)","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"51 1","pages":"102 - 90"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49234637","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 the way Charles Garand’s Georges le mulâtre (1878), a play based on Alexandre Dumas’s novel Georges (1843), forces theatergoers and readers to look at race and racial prejudice. Each act shows the division and divisiveness that racial prejudice imposes on the drama’s characters and suggests that it is only by overcoming the long-held biases built into the colonial setting that people can learn to live together happily and fruitfully. France is represented as the utopian opposite of the île Maurice (Mauritius) where judgments about individuals are not made based on skin color and ancestry but rather on a person’s actions and character.
{"title":"Depicting Racial Conflict in Charles Garand’s Georges le mulâtre (1878)","authors":"B. Cooper","doi":"10.1353/ncf.2022.0002","DOIUrl":"https://doi.org/10.1353/ncf.2022.0002","url":null,"abstract":"Abstract:This article examines the way Charles Garand’s Georges le mulâtre (1878), a play based on Alexandre Dumas’s novel Georges (1843), forces theatergoers and readers to look at race and racial prejudice. Each act shows the division and divisiveness that racial prejudice imposes on the drama’s characters and suggests that it is only by overcoming the long-held biases built into the colonial setting that people can learn to live together happily and fruitfully. France is represented as the utopian opposite of the île Maurice (Mauritius) where judgments about individuals are not made based on skin color and ancestry but rather on a person’s actions and character.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"50 1","pages":"234 - 248"},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45296715","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：