Pub Date : 2020-05-27DOI: 10.1080/14787318.2020.1770396
Mathew Rickard
ABSTRACT Many have struggled to argued whether Rachilde reverses gender binaries or reinforces them by ensuring the continuation of active and passive partners within the narrative of Monsieur Vénus. However, both foundational and recent turns in queer theory regarding heterosexuality present gender non-conformity as a result of a fluidity of gender performance, rather than one based on an opposing binary. This article deals with Rachilde’s ambiguous approach to gender, by focusing on different moulds of masculinity. I take a step back from critical approaches which necessarily read her oeuvre in the light of the gender binary, and ‘requeer’ her work by presenting the ‘norm’ of heterosexuality in a non-normative light.
{"title":"‘Ça n’empêche pas d’être un homme’: Requeering Masculinity in Rachilde’s Monsieur Vénus (1884)","authors":"Mathew Rickard","doi":"10.1080/14787318.2020.1770396","DOIUrl":"https://doi.org/10.1080/14787318.2020.1770396","url":null,"abstract":"ABSTRACT Many have struggled to argued whether Rachilde reverses gender binaries or reinforces them by ensuring the continuation of active and passive partners within the narrative of Monsieur Vénus. However, both foundational and recent turns in queer theory regarding heterosexuality present gender non-conformity as a result of a fluidity of gender performance, rather than one based on an opposing binary. This article deals with Rachilde’s ambiguous approach to gender, by focusing on different moulds of masculinity. I take a step back from critical approaches which necessarily read her oeuvre in the light of the gender binary, and ‘requeer’ her work by presenting the ‘norm’ of heterosexuality in a non-normative light.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2020.1770396","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45290918","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 : 2020-01-02DOI: 10.1080/14787318.2019.1667686
F. Moore
ABSTRACT The Histoire pittoresque, dramatique et caricaturale de la Sainte Russie (1854) by Gustave Doré (1832–83) is unique in the history of nineteenth-century European graphic art and an exceptional project within Doré's artistic career. Illustrated with 500 wood engravings, it narrates the history of Russia from its origins to the contemporary Crimean war. This article examines the volume as a tour de force of technological innovation and graphic rhetoric that confronts the challenge of how to represent war and its violence. To appeal to a broad audience, the artist pioneered a caricatural, graphic sequential history that anticipates modern bande dessinée tackling twentieth-century warfare.
{"title":"Gustave Doré’s Histoire de la Sainte Russie (1854): The Invention of Graphic Rhetoric, or the Artist at War","authors":"F. Moore","doi":"10.1080/14787318.2019.1667686","DOIUrl":"https://doi.org/10.1080/14787318.2019.1667686","url":null,"abstract":"ABSTRACT The Histoire pittoresque, dramatique et caricaturale de la Sainte Russie (1854) by Gustave Doré (1832–83) is unique in the history of nineteenth-century European graphic art and an exceptional project within Doré's artistic career. Illustrated with 500 wood engravings, it narrates the history of Russia from its origins to the contemporary Crimean war. This article examines the volume as a tour de force of technological innovation and graphic rhetoric that confronts the challenge of how to represent war and its violence. To appeal to a broad audience, the artist pioneered a caricatural, graphic sequential history that anticipates modern bande dessinée tackling twentieth-century warfare.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2019.1667686","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45358098","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 : 2020-01-02DOI: 10.1080/14787318.2020.1719334
Martine Mees
ABSTRACT This article aims to follow in the footsteps of French ecocriticism, while creating a double shift in its point of view: firstly, by questioning the work of the romantic writer Gérard de Nerval, who has never truly been studied through the prism of ecopoetry. Secondly, by proposing a resolutely transdisciplinary analysis at the crossroads of literature and philosophy. This study highlights the modernity of Nerval’s metaphysical conceptions of Nature but also how the poem ‘Vers dorés’ may become the manifesto of a poetic ecology through its performativity and its mobilisation of the figure of ruin.
{"title":"The Romantic Basis of a Poetic Ecology in Nerval’s ‘Vers dorés’","authors":"Martine Mees","doi":"10.1080/14787318.2020.1719334","DOIUrl":"https://doi.org/10.1080/14787318.2020.1719334","url":null,"abstract":"ABSTRACT This article aims to follow in the footsteps of French ecocriticism, while creating a double shift in its point of view: firstly, by questioning the work of the romantic writer Gérard de Nerval, who has never truly been studied through the prism of ecopoetry. Secondly, by proposing a resolutely transdisciplinary analysis at the crossroads of literature and philosophy. This study highlights the modernity of Nerval’s metaphysical conceptions of Nature but also how the poem ‘Vers dorés’ may become the manifesto of a poetic ecology through its performativity and its mobilisation of the figure of ruin.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2020.1719334","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43864220","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 : 2020-01-02DOI: 10.1080/14787318.2019.1679516
P. Prasad
ABSTRACT This article studies the coverage of a racially motivated political trial in 1830s Île Bourbon (present-day Reunion Island) in the Parisian periodical Revue des colonies. I argue that in its otherwise astute defense of the mixed-race defendant Louis-Timagène Houat, the periodical's editors exhibit an Atlantic bias, ignoring insular concerns, such as the relationships among Île Bourbon's diverse castes and classes. This case study serves as a litmus test of the pitfalls of enlisting Atlantic frameworks when approaching the colonial Indian Ocean. Instead, we may look at nineteenth-century Indian Ocean literature to provide methodological direction in the study of the region.
{"title":"Colour and Conflict in Nineteenth-Century Île Bourbon: the Case of the Affaire Houat","authors":"P. Prasad","doi":"10.1080/14787318.2019.1679516","DOIUrl":"https://doi.org/10.1080/14787318.2019.1679516","url":null,"abstract":"ABSTRACT This article studies the coverage of a racially motivated political trial in 1830s Île Bourbon (present-day Reunion Island) in the Parisian periodical Revue des colonies. I argue that in its otherwise astute defense of the mixed-race defendant Louis-Timagène Houat, the periodical's editors exhibit an Atlantic bias, ignoring insular concerns, such as the relationships among Île Bourbon's diverse castes and classes. This case study serves as a litmus test of the pitfalls of enlisting Atlantic frameworks when approaching the colonial Indian Ocean. Instead, we may look at nineteenth-century Indian Ocean literature to provide methodological direction in the study of the region.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2019.1679516","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47622952","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 : 2020-01-02DOI: 10.1080/14787318.2019.1699694
Biliana Kassabova
ABSTRACT Published following the Franco-Prussian War and the Paris Commune, George Sand's 1872 novel Nanon is written as the 1850 memoirs of a peasant woman who had lived through the French Revolution. Focusing on the temporal shifts of the novel, I argue that by considering the temporalities of Nanon in conjunction with spatial movements, we can see Sand's refusal to think about the Revolution as a rupture in history. In the novel, the Frenchmen of the urban revolution are substituted with peasants who can reach back into the Celtic origins of France and construct a more peaceful French society.
{"title":"Frenchmen Into Peasants Into Frenchmen: Revolutionary Past and Future in George Sand’s Nanon","authors":"Biliana Kassabova","doi":"10.1080/14787318.2019.1699694","DOIUrl":"https://doi.org/10.1080/14787318.2019.1699694","url":null,"abstract":"ABSTRACT Published following the Franco-Prussian War and the Paris Commune, George Sand's 1872 novel Nanon is written as the 1850 memoirs of a peasant woman who had lived through the French Revolution. Focusing on the temporal shifts of the novel, I argue that by considering the temporalities of Nanon in conjunction with spatial movements, we can see Sand's refusal to think about the Revolution as a rupture in history. In the novel, the Frenchmen of the urban revolution are substituted with peasants who can reach back into the Celtic origins of France and construct a more peaceful French society.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2019.1699694","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45450372","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 : 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.
{"title":"Pessimism, Narrative, and Meaning in Henry Céard’s Une belle journée","authors":"J. Acquisto","doi":"10.1080/14787318.2020.1719333","DOIUrl":"https://doi.org/10.1080/14787318.2020.1719333","url":null,"abstract":"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.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2020.1719333","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48536747","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 : 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。
{"title":"The Obverse View: Another Look at Jean-Léon Gérôme’s Le 7 décembre 1815, neuf heures du matin [The Execution of Marshal Ney] (1868)","authors":"D. McCallam","doi":"10.1080/14787318.2020.1721693","DOIUrl":"https://doi.org/10.1080/14787318.2020.1721693","url":null,"abstract":"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.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2020.1721693","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43075979","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: 10.1080/14787318.2019.1683966
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。
{"title":"Gleaning the Tideline: Elodie La Villette’s Ecocritical Painting","authors":"M. Coughlin","doi":"10.1080/14787318.2019.1683966","DOIUrl":"https://doi.org/10.1080/14787318.2019.1683966","url":null,"abstract":"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.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2019.1683966","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41698931","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: 10.1080/14787318.2019.1683971
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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