Pub Date : 2020-01-02DOI: 10.1080/14787318.2020.1719333
J. Acquisto
ABSTRACT Henry Céard's Une belle journée, a ‘plotless' novel, illuminates debates about pessimism in late nineteenth-century France by bringing to the fore the imperative to interpretation. The way that the novel's heroine is cast as having resigned herself to lackluster existence presents a contrast with Flaubert's Emma Bovary and ignites debates about whether resignation represents an abdication of happiness or creates its conditions of possibility. Readers' interpretation of Céard’s novel is bound up with their understanding of pessimism; debates about the novel can illuminate and be illuminated by larger debates about pessimism in fiction and non-fiction in the later nineteenth century.
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Pub Date : 2020-01-02DOI: 10.1080/14787318.2020.1721693
D. McCallam
ABSTRACT In the light of recent re-evaluations of Jean-Léon Gérôme’s practice and significance as a history painter, this article focuses on one of his more controversial and innovative artworks, Le 7 décembre 1815, neuf heures du matin. This painting depicts the immediate aftermath of maréchal Michel Ney’s execution by the Restoration regime in 1815. The article reassesses in particular the scandalised reception of the painting in the Paris Salon of 1868 and proposes alternative readings of the artwork’s subversive qualities, both for its Second Empire public and for its twentieth-first-century viewers.
摘要在对Jean-Léon Gérôme作为一名历史画家的实践和意义进行重新评价的基础上，本文重点介绍了他最具争议性和创新性的作品之一《1815年法国大革命》（Le 7 décembre 1815，neuf heures du matin）。这幅画描绘了1815年马雷沙尔·米歇尔·奈被复辟政权处决后的直接后果。这篇文章特别重新评估了1868年巴黎沙龙对这幅画的震惊，并提出了对这幅画颠覆性品质的替代解读，无论是对第二帝国的公众还是二十一世纪的观众。
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Pub Date : 2019-10-02DOI: 10.1080/14787318.2019.1683966
M. Coughlin
ABSTRACT Elodie La Villette is an understudied late-nineteenth-century French marine artist who had an exceptional ecological sensibility. Her images of the interstitial world of the coastlines of Brittany and Normandy depict transformations and exchanges between the labour of human maritime communities and the materiality of the landscape in shoreline commons. Using the tools of material ecocriticism and ecofeminism, this article analyses her painted North Atlantic ecologies of the human and more-than-human, and finds affinities between her visual attentiveness and emerging marine ecological sciences in France.
摘要Elodie La Villette是19世纪末一位研究不足的法国海洋艺术家，具有非凡的生态敏感性。她拍摄的布列塔尼和诺曼底海岸线的间隙世界描绘了人类海洋社区的劳动与海岸线公共景观的物质性之间的转变和交流。本文运用物质生态批评和生态女性主义的工具，分析了她所描绘的北大西洋人类和人类以外的生态，发现了她的视觉注意力与法国新兴的海洋生态科学之间的密切关系。
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Pub Date : 2019-10-02DOI: 10.1080/14787318.2019.1683971
Christie Margrave
ABSTRACT This article compares Traversay’s Les amours de Zémédare et Carina (1806) and Bergeaud’s Stella (1859), which portray Caribbean landscapes altered by plantation economy. Examining these understudied novels through the lens of ecofeminism and eco-postcolonialism allows us to understand how Francophone colonial authors perceived the history of the land to be inseparable from socio-political history on both a regional and an international level, and also how the authors portray new Caribbean identities as dependent on landscape and the role of women.
摘要本文比较了特拉弗塞1806年创作的《zacimsamdare et Carina》和伯杰1859年创作的《Stella》，这两部作品描绘了种植园经济改变了加勒比地区的风景。通过生态女性主义和生态后殖民主义的视角审视这些未被充分研究的小说，可以让我们了解法语殖民作家如何在地区和国际层面上看待这片土地的历史与社会政治历史密不可分，以及作者如何将新的加勒比身份描绘为依赖于景观和女性角色。
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Pub Date : 2019-10-02DOI: 10.1080/14787318.2019.1683974
J. Ryan
ABSTRACT Anglophone environmental literary criticism has evolved within the bounds of regions and regionalism. Particularly during its early years, ecocriticism privileged local engagement with the natural world as a literary-activist mode. Recent approaches, however, emphasise translocal, transregional, and transnational frameworks. Moreover, intersections with studies of affect, ecofeminism, materiality, postcolonialism, risk, and other areas underlie the continuing theoretical diversification of ecocriticism. An Anthropocene Ecocriticism would confront the disorienting spatio-temporal scales of our age, resist longstanding local-global binarisms, place emphasis on the value of indigenous narratives, and embrace the environmental justice origins of the field.
{"title":"Foreword: Ecocriticism in the Age of Dislocation?","authors":"J. Ryan","doi":"10.1080/14787318.2019.1683974","DOIUrl":"https://doi.org/10.1080/14787318.2019.1683974","url":null,"abstract":"ABSTRACT Anglophone environmental literary criticism has evolved within the bounds of regions and regionalism. Particularly during its early years, ecocriticism privileged local engagement with the natural world as a literary-activist mode. Recent approaches, however, emphasise translocal, transregional, and transnational frameworks. Moreover, intersections with studies of affect, ecofeminism, materiality, postcolonialism, risk, and other areas underlie the continuing theoretical diversification of ecocriticism. An Anthropocene Ecocriticism would confront the disorienting spatio-temporal scales of our age, resist longstanding local-global binarisms, place emphasis on the value of indigenous narratives, and embrace the environmental justice origins of the field.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"23 1","pages":"163 - 170"},"PeriodicalIF":0.1,"publicationDate":"2019-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2019.1683974","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45500369","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-02DOI: 10.1080/14787318.2019.1683968
Antonio Viselli
ABSTRACT Le désir chez Paul Gauguin de devenir ‘sauvage’ et la manifestation d’un corps queer dans sa vision d’un ailleurs exotique sont deux paradigmes qui se brouillent dans un passage de son journal de voyage, Noa noa (1901), lorsque l’artiste part à la recherche de bois afin de réaliser ses sculptures. Nous proposons un rapprochement entre cet extrait et le ‘bibelot sauvage’ que sculpte l’artiste intitulé ‘L’après-midi d’un faune’ (circa 1892), inspiré du poème de Mallarmé, qui combine dans son interdiscursivité les multiples mythologies occidentales et pacifiques ainsi qu’une intermédialité musico-littéraire et plastique.
保罗·高更（Paul Gauguin）渴望变得“狂野”，并在他对异国他乡的看法中表现出一个酷儿的身体，这两种范式在他的旅行日记《诺亚·诺亚》（1901年）中的一段中模糊了，当时艺术家去寻找木材来制作他的雕塑。我们建议将这段摘录与艺术家创作的名为“L'après-midi d'un faune”（约1892年）的“bibelot sauvage”进行比较，灵感来自马拉梅的诗，该诗在其跨文化性中结合了多种西方和和平神话以及音乐文学和造型中介。
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Pub Date : 2019-10-02DOI: 10.1080/14787318.2019.1683970
A. Carrico
ABSTRACT This article unpacks the role of water in Émile Zola’s L’inondation by analyzing the way in which the Garonne River creates and complicates individual identity. It connects to larger narratives of localism in the face of hydrological risk by situating Zola’s flood historically and ecocritically in relation to the actual Garonne flood of 1875. It suggests that Zola’s story, despite occasionally reinforcing nineteenth-century representations of a dichotomous human-nature relationship, ultimately reveals an inseparable conception of self and environment, and expresses the emotive significance of disaster stories following natural disasters.
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Pub Date : 2019-10-02DOI: 10.1080/14787318.2019.1683965
D. Bauer
ABSTRACT Frédéric Mistral (1830–1914) transforms historical awareness and local historiographies into a literary answer to some of the fundamental challenges of the modern world. It is argued here that the particularities of Mistral’s ‘empaysement’—textual abundance, multiple narrative identities, intertextuality, and storytelling—reflect not only an effort to preserve a pre-industrial agrarian society, but also testify to a modern awareness of the present as a future past, which explicitly structures the Poème du Rhône (1897) and Mireille (1859).
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Pub Date : 2019-10-02DOI: 10.1080/14787318.2019.1683969
Göran Blix
ABSTRACT This article examines the role that anarchist geographer Élisée Reclus attributed to nature as a moral and political teacher capable of enhancing human wellbeing and community. After showing that Reclus’s programmatic essay ‘Du sentiment de la nature’ makes an urgent case for re-sensitizing modern people to nature, I examine how his popular science book Histoire d’un ruisseau seeks to implement this pedagogy. While arguing that nature’s integrity matters foremost for the sake of human material wellbeing, Reclus refused to exclude beauty from that category, arguing that receptivity to beauty reflected a society’s relationship to justice and the natural world.
本文探讨了无政府主义地理学家Élisée Reclus认为自然是一个道德和政治教师，能够促进人类福祉和社区。在展示了隐士的纲论性文章《自然的情感》(Du sentiment de la nature)为现代人对自然的重新敏感提出了一个紧迫的案例之后，我研究了他的科普书《自然的历史》(Histoire d’un ruisseau)是如何寻求实施这种教学法的。虽然认为自然的完整性对人类物质福祉至关重要，但隐士拒绝将美排除在这一类别之外，他认为对美的接受反映了社会与正义和自然世界的关系。
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Pub Date : 2019-10-02DOI: 10.1080/14787318.2019.1683967
Daniel A. Finch-Race, V. Gosetti
This article, and its associated issue, involve Aboriginal and Torres Strait Islander (ATSI) research in the sense that a post-colonial theoretical framework, which has been used in ATSI research, has been applied in a French context. This research does not involve direct research of ATSI peoples or their culture.
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