Pub Date : 2021-12-01DOI: 10.5325/ninecentstud.33.0046
David Brodbeck
In the summer of 1896, Carl Goldmark (1830–1915), a Viennese Jew of Hungarian origin, drafted an essay in which he wrote bitterly about fin-de-siècle anti-Semitism as he experienced it in the critical reception of his operas Das Heimchen am Herd and Die Königin von Saba. The late Austrian musicologist Gerhard J. Winkler characterized this extraordinary text “as [a] private confession of disillusionment, namely, the destruction of the lifelong illusion that Jews could seamlessly ‘assimilate’ . . . into German culture.” Yet Goldmark’s cri de coeur did not, in fact, remain off the record. In the spring of 1911, the Neue freie Presse, Vienna’s most influential assimilationist organ, published the bulk of it as “Thoughts on Form and Style (a Defense).” As I show through a close reading of this text and others in which the Jewish Question figures prominently, “Thoughts on Form and Style” eventually served as a spirited, public defense of Goldmark’s self-perception as a German composer—and this in an age of not only increasing anti-Semitism but also, because of that seemingly intractable prejudice, growing doubts in a younger generation of Central European Jews about the viability of the acculturation project itself.
1896年夏天，匈牙利裔维也纳犹太人卡尔·戈德马克(Carl Goldmark, 1830-1915)起草了一篇文章，在文章中，他痛苦地描述了他在歌剧《海姆亨·赫德》(Das Heimchen am Herd)和《Königin von Saba》(Die Königin von Saba)受到评论界好评时所经历的最后的反犹太主义。已故的奥地利音乐学家格哈德·j·温克勒(Gerhard J. Winkler)将这篇非凡的文章描述为“幻灭的私人忏悔，也就是说，犹太人可以无缝地‘同化’的终身幻想的毁灭……”融入德国文化。”然而，事实上，戈德马克的大声疾呼并未被记录在案。1911年春，维也纳最具影响力的同化主义报纸《新自由报》(Neue freie Presse)将其大部分以《论形式与风格(辩护)》为题发表。正如我通过仔细阅读这篇文章和其他关于犹太问题的文章所展示的那样，《形式与风格的思考》最终成为戈德马克作为德国作曲家的自我认知的一种精神上的、公开的辩护——这不仅发生在一个反犹太主义日益加剧的时代，而且由于这种看似棘手的偏见，中欧年轻一代犹太人对文化适应项目本身的可行性越来越怀疑。
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Pub Date : 2021-12-01DOI: 10.5325/ninecentstud.33.0200
I. Reist
This essay focuses on the ways in which travel broadened and deepened later nineteenth-century American collectors’ interests in cultures different from their own. Like many Gilded Age traveler-collectors, the figures profiled here—Isabella Stewart Gardner (1840–1924), Charles Lang Freer (1854–1919), Louisine Havemeyer (1855–1929), Henry (1849–1919) and Helen Clay Frick (1888–1984), and Phoebe Hearst (1842–1919)—were affluent and curious. Quotations from diaries, letters, and memoirs underscore the role travel played in educating them. Gardner’s constant travels to Italy solidified the direction her collecting would take, while Freer’s unwavering interest in the arts of many cultures of Asia prompted repeated visits to that continent. Havemeyer’s recollections of Spain spurred her desire to collect the art of El Greco (1541–1614) well before other Americans developed an appreciation of that artist, and letters and travel diaries illuminate Phoebe Hearst’s and Helen Clay Frick’s self-education through museum visits, in Hearst’s case affecting as well the later collecting obsessions of her son, William Randolph Hearst (1863–1951). While these collectors were often drawn to objects because they saw them as exotic, museums today seek to understand the objects they acquired within the context of their creators’ cultures.
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Pub Date : 2021-12-01DOI: 10.5325/ninecentstud.33.0143
Margaret F. MacDonald
The expatriate U.S. artist James McNeill Whistler (1834–1903) was an influential painter and printmaker and an important link between London, Paris, and New York. The infinite shades of half-light depicted in his work inspired a wide range of nuanced terminology. This essay discusses his twilight subjects in the words of the artist himself and his contemporaries, from the crepuscules of Trouville and Valparaíso in the 1860s to the Venetian nocturnes of 1879–80, with a focus on works in The Frick Collection in tribute to the curator emerita Susan Grace Galassi. When Whistler thanked his patron Frederick R. Leyland (1832–1892) for the term nocturne to describe his moonlight scenes, he said that the word “does so poetically say all I want to say and no more than I wish!” The new titles, applied to his twilight subjects as well as his night scenes, mirrored the repositioning of his aesthetic identity. The virtual transformation of his early realistic or impressionistic oils by the imposition of abstract titles confirmed his position as a proponent of “Art for Art’s Sake” and a leading figure in the Aesthetic movement.
美国艺术家詹姆斯·麦克尼尔·惠斯勒(1834-1903)是一位有影响力的画家和版画家，也是伦敦、巴黎和纽约之间的重要纽带。在他的作品中描绘的无限阴影的半光激发了广泛的细致入微的术语。这篇文章讨论了他的黄昏主题的艺术家自己和他同时代的人的话，从特鲁维尔和Valparaíso在19世纪60年代的黄昏到1879-80年的威尼斯夜曲，重点是在弗里克收藏的作品，以纪念策展人苏珊·格蕾丝·加拉西。当惠斯勒感谢他的赞助人弗雷德里克·r·莱兰(Frederick R. Leyland, 1832-1892)用夜曲这个词来描述他的月光场景时，他说这个词“诗意地表达了我想说的一切，而且没有超出我的愿望!”新的标题，适用于他的黄昏主题以及他的夜景，反映了他的审美身份的重新定位。他早期的现实主义或印象派油画通过强加抽象标题的实际转变，证实了他作为“为艺术而艺术”的支持者和美学运动的领导人物的地位。
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Pub Date : 2021-12-01DOI: 10.5325/ninecentstud.33.0242
E. Sullivan
Francisco Oller was one of the most distinguished and influential artists to emerge from the Caribbean in the mid-nineteenth century. Often referred to as the painter of Puerto Rico, he is most noted for his depictions of everyday life on the island, landscapes, still lifes, portraits, and history paintings. However, his four lengthy journeys to Spain and France throughout his life indelibly marked his artistic production. This essay reconsiders the impact of French art on Oller. It deals with two heretofore unstudied paintings (both in private collections). A tabletop still life with peonies and other flowers reminds us of his interest in Henri Fantin-Latour and his contemporaries in Paris. Oller’s small but panoramic landscape of the pilgrimage shrine to Our Lady of Lourdes in southern France opens up questions regarding the artist’s own religious leanings and his interest in depicting public spaces.
弗朗西斯科·奥勒(Francisco Oller)是十九世纪中期加勒比地区涌现的最杰出、最具影响力的艺术家之一。通常被称为波多黎各画家，他最出名的是他对岛上日常生活、风景、静物、肖像和历史画的描绘。然而，他一生中去西班牙和法国的四次漫长旅行给他的艺术创作留下了不可磨灭的印记。本文重新思考了法国艺术对奥勒的影响。它涉及两幅迄今未被研究的画作(均为私人收藏)。桌上的静物画中有牡丹和其他花朵，这让我们想起了他对亨利·芳丹·拉图尔和他在巴黎的同时代人的兴趣。奥勒在法国南部为卢尔德圣母(Our Lady of Lourdes)绘制了一幅小而全景的朝圣圣地景观，这幅风景画揭示了艺术家自己的宗教倾向和他对描绘公共空间的兴趣。
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Pub Date : 2021-12-01DOI: 10.5325/ninecentstud.33.0158
Aimee Ng
This essay explores the relationship between biography and portraiture in British paintings of the late eighteenth and early nineteenth century. New biographical information about Selina, Lady Skipwith (1752–1832), a sitter portrayed by both Sir Joshua Reynolds (1723–92) and Sir Thomas Lawrence (1769–1830), offers opportunities to examine the possibilities and limits of biography in art historical investigation.
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Pub Date : 2021-12-01DOI: 10.5325/ninecentstud.33.0073
Joanna Sheers Seidenstein, E. Owens, Margot Bernstein
This text introduces the volume’s special section honoring Susan Grace Galassi, curator emerita of The Frick Collection. It recounts some of Dr. Galassi’s many achievements and summarizes the contents of the articles written in tribute to her.
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Abstract:This article reconsiders the relationship between literary aesthetics and political commitment in mid-nineteenth-century France by examining the fiction, folkloric research, and editorial work of provincial writer and intellectual Amélie Bosquet (1815–1904), as well as her correspondence with Gustave Flaubert between 1859 and 1869. I argue that Bosquet's La Normandie romanesque et merveilleuse, a collection of fairy tales and folklore from her native region, constitutes a reflection on the function and value of popular narrative—a theoretical intervention that she put to the test in editing a collection of workers' poetry and in writing her own novellas. Turning to Bosquet's correspondence with Flaubert, I show how their fundamental disagreements on style, narrative intervention, and the relationship between politics and aesthetics set the stage for critical debates on the nature of literary Realism, sentimental fiction, and the political responsibility of writers of fiction.
摘要:本文通过考察省作家兼知识分子amsamlie Bosquet(1815-1904)的小说、民俗研究和编辑工作，以及她在1859年至1869年与古斯塔夫·福楼拜的通信，重新审视19世纪中期法国文学美学与政治承诺之间的关系。我认为，博斯奎特的《诺曼底人》(La Normandie romanesque et merveilleuse)是一本来自她家乡的童话故事和民间传说的合集，它反映了大众叙事的功能和价值——她在编辑工人诗歌合集和写自己的中篇小说时，对这种理论干预进行了检验。在博斯克特与福楼拜的通信中，我展示了他们在风格、叙事干预以及政治与美学之间的关系方面的根本分歧是如何为文学现实主义的本质、感情小说和小说作家的政治责任等批判性辩论奠定了基础的。
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Abstract:This article proposes to situate what it will show to be Charles Baudelaire's bi-directional empathy with objects in relation to his move away from Romanticism towards Modernism. It will show that self-transforming receptiveness to the outside world is at least as central to his aesthetic as any self-projecting transformation of that world. The article will consider the poet's presentation of identification with objects, in the poems "La Cloche fêlée," "La Musique," and "Le Flacon," in the light of early thinking about empathy by Robert Vischer and others, and then briefly in the light of more recent work on the theme. It will argue that his inscriptions of the confrontation between self and non-self reveal Baudelaire to be an early thinker of a self-transforming kind of empathy, which is central both to his Modernism and to the thinking of the early empathy theorists whose work was so influential for Modernism.
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{"title":"Incipit: On Poetry and Crisis","authors":"Thomas C. Connolly, Liesl Yamaguchi","doi":"10.1353/ncf.2021.0033","DOIUrl":"https://doi.org/10.1353/ncf.2021.0033","url":null,"abstract":"","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"50 1","pages":"1 - 49"},"PeriodicalIF":0.2,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48893978","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:Written in collaboration with Louis Bouilhet and Charles d'Osmoy, Flaubert's play Le Château des cœurs (1863) remains one of his lesser-known literary works. A féerie set in Paris and several magical lands, the play's fifth act takes place in a fashion wonderland called the "île de la toilette." Building on recent scholarly engagement with fashion, I argue that Le Château addresses two new modes of sartorial production—haute couture and confection. While these two industries occupied seemingly opposing positions, Le Château casts these two fashion sites as interchangeable, fluid spaces, thereby implying a lack of hierarchy between haute couture and confection. A similar dynamic is at play in Flaubert's literary style. Following Jacques Rancière's argument that Flaubert's writing dissolves the boundaries between art and everyday life, I propose that the treatment of sartorial space in Le Château is not only revelatory of mid-nineteenth-century fashion production, but it is also inextricably tied to Flaubert's aesthetics.
摘要:福楼拜的剧作《chalteau des cœurs》(1863)是他与路易·布伊和查尔斯·德·奥斯莫合作创作的，是他不太为人所知的文学作品之一。该剧以巴黎和几个神奇的地方为背景，第五幕发生在一个名为“le de la toilette”的时尚仙境。基于最近对时尚的学术研究，我认为Le chalteau解决了两种新的服装生产模式——高级时装和甜点。虽然这两个行业占据着看似对立的位置，但Le chalteau将这两个时尚网站塑造成可互换的流动空间，从而暗示高级定制和糖果之间缺乏等级关系。福楼拜的文学风格中也有类似的动态。雅克·朗西 (Jacques ranci)认为福楼拜的作品消解了艺术与日常生活之间的界限，我认为《Le chalteau》中对服装空间的处理不仅揭示了19世纪中期的时尚生产，而且与福楼拜的美学有着千丝百缕的联系。
{"title":"\"C'est le pays de la toilette\": Fashion and Space in Flaubert's Le Château des cœurs","authors":"Kasia Stempniak","doi":"10.1353/ncf.2021.0037","DOIUrl":"https://doi.org/10.1353/ncf.2021.0037","url":null,"abstract":"Abstract:Written in collaboration with Louis Bouilhet and Charles d'Osmoy, Flaubert's play Le Château des cœurs (1863) remains one of his lesser-known literary works. A féerie set in Paris and several magical lands, the play's fifth act takes place in a fashion wonderland called the \"île de la toilette.\" Building on recent scholarly engagement with fashion, I argue that Le Château addresses two new modes of sartorial production—haute couture and confection. While these two industries occupied seemingly opposing positions, Le Château casts these two fashion sites as interchangeable, fluid spaces, thereby implying a lack of hierarchy between haute couture and confection. A similar dynamic is at play in Flaubert's literary style. Following Jacques Rancière's argument that Flaubert's writing dissolves the boundaries between art and everyday life, I propose that the treatment of sartorial space in Le Château is not only revelatory of mid-nineteenth-century fashion production, but it is also inextricably tied to Flaubert's aesthetics.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"50 1","pages":"103 - 118"},"PeriodicalIF":0.2,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41783433","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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