Pub Date : 2023-12-17DOI: 10.1080/14787318.2023.2291594
Michelle Chun-han Hsu
In La Fille du Ciel (1911), a play co-authored by Pierre Loti and Judith Gautier, allusions to ethnic equality between the Manchu and the Han celebrate the political thinking of Kang Youwei (1858–1...
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Pub Date : 2023-12-11DOI: 10.1080/14787318.2023.2278853
Victoria Baena
Augustine Fouillée's (alias G. Bruno's) Le tour de la France par deux enfants, a children's geography textbook initially published in 1877, has long been considered a nation-building tool in the Th...
奥古斯丁-福伊雷（别名 G. 布鲁诺）的《两个孩子游法国》（Le tour de la France par deux enfants）是一本儿童地理教科书，最初出版于 1877 年，长期以来一直被认为是法国的建国工具。
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Pub Date : 2023-12-07DOI: 10.1080/14787318.2023.2284605
Roger Pearson
In this article I examine some aspects of the relationship between poetry and magic within the context of nineteenth-century French literature and culture. I focus on Mallarmé's ‘Magie' and use his...
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Pub Date : 2023-09-14DOI: 10.1080/14787318.2023.2254947
Margot Szarke
ABSTRACTThis essay considers Emile Zola's La Joie de vivre (1884) as a study of boredom which turns into a self-reflexive study of literature itself, highlighting the ways in which the text slows down perceptions of objects, events, and the passage of time. This ‘roman psychologique' stretches the reader's attention, thereby inducing forms of ennui that mirror those experienced by the novel's characters. By examining how Zola's writing warps the ‘reality effect' and how it dissolves the distinction between narration and description, this investigation shows furthermore that Zola’s literary experimentation pushes his naturalism in a modernist direction.KEYWORDS: Ennuiaffectl'effet de réelRougon-Macquartattentionnaturalismmodernism Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 In Zola’s notes, the title, “La Joie de vivre,” appears as an outlier in a (rather poetic) list of phrases. Here, the author seems to be contemplating potential titles: “La vallée des larmesLa joie de vivreL’espoir du néantLe vieux cyniqueLa sombre mortLe tourment de l’existenceLa misère du mondeLe repos sacré du néantLe triste monde.” (Becker Citation2009, 1072).2 While writing La Joie de vivre, Zola supposedly consulted Paul Bourget’s Citation1883 study, Essais de Psychologie contemporaine (Becker Citation2009, 1235). Bourget’s discussion of literary works (Citation1883, viii) attempted to “[d]éfinir quelques-uns des exemplaires de sentiments que certains écrivains de notre époque proposent à l’imitation des tout jeunes gens” (including pessimism and nihilism), and to “indiquer […] quelques-unes des causes générales qui ont amené ces écrivains à peindre ces sentiments comme elles amènent leur lecteur à les goûter.” The literary text makes its reader taste the portrayed “sentiments”.3 In Le Plaisir du texte (Citation1973, 21), Barthes admitted that he would skip descriptive passages, notably while reading Zola, in order to establish his own, enjoyable (and faster) reading pace: “nous ne lisons pas tout avec la même intensité de lecture; un rythme s’établit, désinvolte, peu respectueux à l’égard de l’intégrité du texte; […] nous sautons impunément (personne ne nous voit) les descriptions.”4 Zola’s essay, “Le sens du réel,” was published in 1878 and later included in Le roman expérimental, as the first entry under the heading du roman.5 While analysing Dorothy Richardson’s Pilgrimage, Jean Radford (Citation1991, 18) interprets the usage of repeated, lengthy physical descriptions and descriptive details as the intentional production of a resistance to meaning, rather than the presentation of the ‘reality effect.’ Allison Pease (Citation2012, 80–81) has continued this line of thought by showing how boredom in this context shapes the reader’s orientation with the novel. According to Pease, there is a collaborative effort established here between the novelist and the reader.6 Indeed, Zola wanted to evoke forms of mental and moral émiett
摘要本文认为左拉的《生活的乐趣》(1884)是对无聊的研究，它转变为对文学本身的自我反思研究，突出了文本减缓对物体、事件和时间流逝的感知的方式。这种“罗马人的心理”分散了读者的注意力，从而引发了各种形式的无聊，这与小说中的人物所经历的相似。通过考察左拉的写作如何扭曲“现实效应”，以及它如何消解叙述与描述之间的区别，本研究进一步表明，左拉的文学实验将他的自然主义推向了现代主义的方向。关键词:倦怠、情绪、影响、rougon - macquart、注意力、自然主义、现代主义披露声明作者未报告潜在的利益冲突。注1在左拉的笔记中，标题“生活的乐趣”(La Joie de vivre)在一列(相当诗意的)短语中显得异常。在这里，作者似乎在考虑可能的标题:“生命的快乐”、“生命的快乐”、“生命的快乐”、“生命的痛苦”、“生命的痛苦”、“生命的痛苦”、“生命的痛苦”、“生命的痛苦”、“生命的痛苦”、“生命的痛苦”、“生命的痛苦”、“生命的痛苦”、“生命的痛苦”、“生命的痛苦”、“生命的痛苦”、“生命的痛苦”、“生命的痛苦”。(Becker citation, 2009, 72在写作《生活的乐趣》时，左拉据说参考了保罗·布尔歇1883年的研究《当代心理学论文》(Becker Citation2009, 1235)。布尔热对文学作品的讨论(Citation1883, viii)试图“[d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2>] <s:2> [d] <s:2> [d] <s:2> [d] <s:2> [d] <s:2>] <s:2> [d] <s:2> [d] <s:2> [d] <s:2>] <s:2> [d] <s:2> [d] <s:2> [d] <s:2>] <s:2> [d] <s:2> [d] <s:2>] <s:2> [d] <s:2> [d] <s:2>] <s:2> [d] <s:2>”。文学文本使读者体会到所描绘的“情操”在《文本的乐趣》(Citation1973, 21)中，巴特承认他会跳过描述段落，特别是在阅读左拉时，为了建立自己的、愉快的(和更快的)阅读节奏:“nous ne lisons pas tout avec la même intensit<e:1> de lecture;UN rhythm ' s ' samtablit, dsamsinvolte, petutux ' s ' samtablit, dsamsinvolte，分别是:' samtablit, dsamsconte, dsamsgriitgrest, dtexte;[…]人因罪受惩罚(人因罪受惩罚)左拉的文章《les sens du r逍遥》发表于1878年，后来被收录在《Le roman expimriment》中，作为标题为“du roman”的第一个条目在分析Dorothy Richardson的《朝圣》时，Jean Radford (citation1991,18)将重复的、冗长的物理描述和描述细节的使用解释为对意义的抵抗，而不是对“现实效果”的呈现。艾利森·皮斯(citation, 2012, 80-81)继续了这条思路，展示了在这种情况下，无聊是如何影响读者阅读小说的方向的。根据皮斯的说法，在这里小说家和读者之间建立了一种合作的努力事实上，左拉想要唤起精神和道德上的解脱。在他为这部小说准备的档案中，他经常清晰地表达了这种侵蚀的概念:“双重体质和我的道德标准”(贝克尔引文2009,1998);“影响我的薪金，我的薪金”(2002年);“Bien appuyer sur l ' sammiement de la volonontise et de tout chez Lazare - Le drame cachaise, Le drame abominable qui se passse en lui，平行历史，et don ' il ne parle jamais;“悲观主义是一种假释，”(1024);6 .“我不认为我是悲观主义者”(1040)苏珊·哈罗在她的文章中对《生活的乐趣》中的单色色彩进行了极好的解读:“左拉色彩主义者，抽象主义者”，《浪漫评论》(3-4):465-484.8。事实上，在《生活的乐趣》中可以找到左拉所反对的19世纪浪漫主义文学的参考。波琳在康复期间，每天都在读书。但她对自己所能支配的书籍类型感到厌倦/烦恼:“Ses lectures, du reste, l’ennuyaient。“从历史上看，所有的人都有自己的职业生涯，所有的人都有自己的职业生涯，所有的人都有自己的职业生涯。”然而，从这种文学体裁中衍生出来的情感模式影响了波琳的一些选择和行为。当波琳解释说他应该娶路易丝而不是她时，拉扎尔只是温和地抗议，她回答说，如果他真的爱她，他会跪在地上哭(意思是，他会像浪漫小说中的人物那样情绪化)Ruth Ronen (citation1997,283)探讨了结构主义和符号学推理模式是如何非理性地将叙事与表征的更多参照方面分离开来的，从而建立了“一种与文本经验不相容的理论立场”。 David Baguley (Citation1990, 186-187)以类似的方式解释道:“叙述和描述是等价的操作，前者发展了叙事的时间描绘，后者发展了叙事的空间向量，但两者都不是不同的‘模式’(用Genette的话来说)，而是虚构表现的‘方面’。”参见迈克·巴尔的《作为非写作的过度写作》和亨利·詹姆斯的《小说的艺术》，关于描写不能完全与叙述分开的论点例如，gsamrard Genette (Citation1966, 158)在讨论叙述/描述的分歧时写道:“la narrativ
{"title":"Zola’s Sense of Reality: Repetition, Deadtime, and Boredom in <i>La Joie de vivre</i>","authors":"Margot Szarke","doi":"10.1080/14787318.2023.2254947","DOIUrl":"https://doi.org/10.1080/14787318.2023.2254947","url":null,"abstract":"ABSTRACTThis essay considers Emile Zola's La Joie de vivre (1884) as a study of boredom which turns into a self-reflexive study of literature itself, highlighting the ways in which the text slows down perceptions of objects, events, and the passage of time. This ‘roman psychologique' stretches the reader's attention, thereby inducing forms of ennui that mirror those experienced by the novel's characters. By examining how Zola's writing warps the ‘reality effect' and how it dissolves the distinction between narration and description, this investigation shows furthermore that Zola’s literary experimentation pushes his naturalism in a modernist direction.KEYWORDS: Ennuiaffectl'effet de réelRougon-Macquartattentionnaturalismmodernism Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 In Zola’s notes, the title, “La Joie de vivre,” appears as an outlier in a (rather poetic) list of phrases. Here, the author seems to be contemplating potential titles: “La vallée des larmesLa joie de vivreL’espoir du néantLe vieux cyniqueLa sombre mortLe tourment de l’existenceLa misère du mondeLe repos sacré du néantLe triste monde.” (Becker Citation2009, 1072).2 While writing La Joie de vivre, Zola supposedly consulted Paul Bourget’s Citation1883 study, Essais de Psychologie contemporaine (Becker Citation2009, 1235). Bourget’s discussion of literary works (Citation1883, viii) attempted to “[d]éfinir quelques-uns des exemplaires de sentiments que certains écrivains de notre époque proposent à l’imitation des tout jeunes gens” (including pessimism and nihilism), and to “indiquer […] quelques-unes des causes générales qui ont amené ces écrivains à peindre ces sentiments comme elles amènent leur lecteur à les goûter.” The literary text makes its reader taste the portrayed “sentiments”.3 In Le Plaisir du texte (Citation1973, 21), Barthes admitted that he would skip descriptive passages, notably while reading Zola, in order to establish his own, enjoyable (and faster) reading pace: “nous ne lisons pas tout avec la même intensité de lecture; un rythme s’établit, désinvolte, peu respectueux à l’égard de l’intégrité du texte; […] nous sautons impunément (personne ne nous voit) les descriptions.”4 Zola’s essay, “Le sens du réel,” was published in 1878 and later included in Le roman expérimental, as the first entry under the heading du roman.5 While analysing Dorothy Richardson’s Pilgrimage, Jean Radford (Citation1991, 18) interprets the usage of repeated, lengthy physical descriptions and descriptive details as the intentional production of a resistance to meaning, rather than the presentation of the ‘reality effect.’ Allison Pease (Citation2012, 80–81) has continued this line of thought by showing how boredom in this context shapes the reader’s orientation with the novel. According to Pease, there is a collaborative effort established here between the novelist and the reader.6 Indeed, Zola wanted to evoke forms of mental and moral émiett","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134969923","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 : 2023-09-04DOI: 10.1080/14787318.2023.2228146
Célia Abele
ABSTRACT The early drafts of Proust's Recherche discuss the novelty of the relationship between reality and literature developed by Balzac. According to Proust, Balzac infused reality itself with life, just as he infused literature with life, and indeed life with literature. This article explores the multiple valences of the concept of “life”—literary, biographical, and sociobiological—in the Recherche, notably through a reading of the comparison between society and an aquarium in A l'ombre des jeunes filles en fleurs. This shows how the Recherche drew on the possibilities for dialogue between literature and science around the notion of “life.”
{"title":"Generating Life from Literature: Proust in Balzac’s Aquarium","authors":"Célia Abele","doi":"10.1080/14787318.2023.2228146","DOIUrl":"https://doi.org/10.1080/14787318.2023.2228146","url":null,"abstract":"ABSTRACT The early drafts of Proust's Recherche discuss the novelty of the relationship between reality and literature developed by Balzac. According to Proust, Balzac infused reality itself with life, just as he infused literature with life, and indeed life with literature. This article explores the multiple valences of the concept of “life”—literary, biographical, and sociobiological—in the Recherche, notably through a reading of the comparison between society and an aquarium in A l'ombre des jeunes filles en fleurs. This shows how the Recherche drew on the possibilities for dialogue between literature and science around the notion of “life.”","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43063865","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 : 2023-08-28DOI: 10.1080/14787318.2023.2235138
Emma Kavanagh
ABSTRACT At first glance, Jules Massenet's opera Sapho (1897) might appear to water down its source material, substituting the searing social commentary of Alphonse Daudet's novel (1884) with idealised tropes of the Midi. This article, however, seeks to complicate this reading, arguing that Sapho moves beyond the regionalism of its operatic predecessors, while entirely reimagining Daudet's novel for a new medium. It highlights how the themes of nostalgia and belonging are established in Henri Cain and Arthur Bernède's libretto, reiterated by Léon Carvalho's staging, and intensified in Massenet's score, thereby nuancing and enriching our understanding of adaptation for the operatic stage.
{"title":"‘Qu’il est loin mon pays’: Staging (Be)longing in Massenet’s Sapho","authors":"Emma Kavanagh","doi":"10.1080/14787318.2023.2235138","DOIUrl":"https://doi.org/10.1080/14787318.2023.2235138","url":null,"abstract":"ABSTRACT At first glance, Jules Massenet's opera Sapho (1897) might appear to water down its source material, substituting the searing social commentary of Alphonse Daudet's novel (1884) with idealised tropes of the Midi. This article, however, seeks to complicate this reading, arguing that Sapho moves beyond the regionalism of its operatic predecessors, while entirely reimagining Daudet's novel for a new medium. It highlights how the themes of nostalgia and belonging are established in Henri Cain and Arthur Bernède's libretto, reiterated by Léon Carvalho's staging, and intensified in Massenet's score, thereby nuancing and enriching our understanding of adaptation for the operatic stage.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43374747","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 : 2023-08-14DOI: 10.1080/14787318.2023.2245167
K. Weil
ABSTRACT Writing about Francis Bacon, Gilles Deleuze comments on the body as the ‘zone of indiscernibility' between man and animal, especially ‘as it is flesh or meat.' Bacon's fleshy zone, I argue, finds an early illustration in Madame Bovary, where Flaubert will also incorporate notions of ‘animal life’ as described by the nineteenth-century pathologist, Xavier Bichat. This essay will examine these fleshy zones as they relate to changing ideas of skin, tactility, and those, fluid permeable zones between human and animal and between individual bodies and the penetrating forces of others and the environment.
{"title":"Fidgeting Fingers and Fickle Flesh in Flaubert","authors":"K. Weil","doi":"10.1080/14787318.2023.2245167","DOIUrl":"https://doi.org/10.1080/14787318.2023.2245167","url":null,"abstract":"ABSTRACT Writing about Francis Bacon, Gilles Deleuze comments on the body as the ‘zone of indiscernibility' between man and animal, especially ‘as it is flesh or meat.' Bacon's fleshy zone, I argue, finds an early illustration in Madame Bovary, where Flaubert will also incorporate notions of ‘animal life’ as described by the nineteenth-century pathologist, Xavier Bichat. This essay will examine these fleshy zones as they relate to changing ideas of skin, tactility, and those, fluid permeable zones between human and animal and between individual bodies and the penetrating forces of others and the environment.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44502117","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 : 2023-08-09DOI: 10.1080/14787318.2023.2241915
Luciana Persice Nogueira-Pretti
{"title":"Venise et ses télescopages magiques. La ‘Venise intérieure’ de Proust","authors":"Luciana Persice Nogueira-Pretti","doi":"10.1080/14787318.2023.2241915","DOIUrl":"https://doi.org/10.1080/14787318.2023.2241915","url":null,"abstract":"","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41873895","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 : 2023-07-27DOI: 10.1080/14787318.2023.2229117
Jessica Rushton
ABSTRACT This article analyses how the nineteenth-century fictional heroines in Stendhal's Mina de Vanghel and Jules Barbey d'Aurevilly's `Le Bonheur dans le crime' don a maidservant disguise in order to revolt against their society's oppressive mores and subsequently reverse the power dynamics between men and women, as well as servants and their masters and mistresses. By drawing on the period's non-literary discourses that likewise depicted a fascination with the servant's appearance, this article argues that Stendhal and Barbey were creating, as well as feeding into, a particular nineteenth-century socio-cultural construct of the female servant as a rebellious, sexually promiscuous figure.
{"title":"‘Ne vous effrayez point du costume bizarre dans lequel vous me voyez’: The Maidservant Disguise in Stendhal’s Mina de Vanghel and Barbey d’Aurevilly’s ‘Le Bonheur dans le crime’","authors":"Jessica Rushton","doi":"10.1080/14787318.2023.2229117","DOIUrl":"https://doi.org/10.1080/14787318.2023.2229117","url":null,"abstract":"ABSTRACT This article analyses how the nineteenth-century fictional heroines in Stendhal's Mina de Vanghel and Jules Barbey d'Aurevilly's `Le Bonheur dans le crime' don a maidservant disguise in order to revolt against their society's oppressive mores and subsequently reverse the power dynamics between men and women, as well as servants and their masters and mistresses. By drawing on the period's non-literary discourses that likewise depicted a fascination with the servant's appearance, this article argues that Stendhal and Barbey were creating, as well as feeding into, a particular nineteenth-century socio-cultural construct of the female servant as a rebellious, sexually promiscuous figure.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49116845","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 : 2023-07-27DOI: 10.1080/14787318.2023.2222024
Lucioni Monica
ABSTRACT Au cours du XIXe siècle s'affirme le concept de « ponctuation d'auteur ». Dans la fin de siècle, au moment où la « ponctuation blanche » commence à apparaître, Jules Laforgue explore les possibilités disruptives et expressives de la plus traditionnelle « ponctuation noire ». Dans cet article, nous analyserons la relation du poète avec les ponctuants, montrant qu'ils participent du niveau sémantique de son « écriture clownesque ». En particulier, à l'époque des Complaintes et de L'Imitation de Notre-Dame la Lune, la ponctuation crée une forme de « gesticulation typographique » qui a pour modèle le Pierrot des pantomimes.
{"title":"La gesticulation typographique du Pierrot fin-de-siècle : Jules Laforgue et la ponctuation","authors":"Lucioni Monica","doi":"10.1080/14787318.2023.2222024","DOIUrl":"https://doi.org/10.1080/14787318.2023.2222024","url":null,"abstract":"ABSTRACT Au cours du XIXe siècle s'affirme le concept de « ponctuation d'auteur ». Dans la fin de siècle, au moment où la « ponctuation blanche » commence à apparaître, Jules Laforgue explore les possibilités disruptives et expressives de la plus traditionnelle « ponctuation noire ». Dans cet article, nous analyserons la relation du poète avec les ponctuants, montrant qu'ils participent du niveau sémantique de son « écriture clownesque ». En particulier, à l'époque des Complaintes et de L'Imitation de Notre-Dame la Lune, la ponctuation crée une forme de « gesticulation typographique » qui a pour modèle le Pierrot des pantomimes.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41397673","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}
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