Pub Date : 2023-07-03DOI: 10.1080/14787318.2023.2218217
R. Lethbridge
ABSTRACT Grounded in Zola’s art criticism, this article analyses for the first time his writing on Fromentin over the decade 1866–76. It explores the diverse reasons for a hostility that is inseparable from a wider frame of reference in which Orientalism is perceived as emblematic of a Romantic aesthetic opposed by Zola. Paradoxically, however, Zola’s engagement with Fromentin’s Les Maîtres d’autrefois, opposed to modernist innovation, coincides with his own increasing disenchantment with Impressionism. His simultaneous re-evaluation of the Old Masters allows us to discern shared pictorial priorities which bring Zola and Fromentin into the same critical frame.
{"title":"Opposing Frames: Zola and Fromentin","authors":"R. Lethbridge","doi":"10.1080/14787318.2023.2218217","DOIUrl":"https://doi.org/10.1080/14787318.2023.2218217","url":null,"abstract":"ABSTRACT\u0000 Grounded in Zola’s art criticism, this article analyses for the first time his writing on Fromentin over the decade 1866–76. It explores the diverse reasons for a hostility that is inseparable from a wider frame of reference in which Orientalism is perceived as emblematic of a Romantic aesthetic opposed by Zola. Paradoxically, however, Zola’s engagement with Fromentin’s Les Maîtres d’autrefois, opposed to modernist innovation, coincides with his own increasing disenchantment with Impressionism. His simultaneous re-evaluation of the Old Masters allows us to discern shared pictorial priorities which bring Zola and Fromentin into the same critical frame.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"27 1","pages":"94 - 113"},"PeriodicalIF":0.1,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49075211","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 : 2023-07-03DOI: 10.1080/14787318.2023.2218210
M. Orr
ABSTRACT This article takes its lead from Barbara Wright’s simple yet profound literary-critical imperative, ‘“Only Connect” … ’ (2010), to reflect Fromentin’s Dominique critically in Flaubert’s Salammbô – and vice versa – by means of the aesthetic compasses of critical reader response in 1862, and their authors’ earlier travel writing. In therefore arguing by example for renewed examination of important works in word and image in Second Empire France that appear the same year, the article reorientates twenty-first-century critical debate concerning the status and aesthetic perspectives of mature, representative, enduring and canonical works in nineteenth-century French and Francophone Studies.
{"title":"‘Nous sommes tous nés nomades.’ The Pictorial Compasses of Fromentin’s Dominique and Flaubert’s Salammbô of 1862","authors":"M. Orr","doi":"10.1080/14787318.2023.2218210","DOIUrl":"https://doi.org/10.1080/14787318.2023.2218210","url":null,"abstract":"ABSTRACT This article takes its lead from Barbara Wright’s simple yet profound literary-critical imperative, ‘“Only Connect” … ’ (2010), to reflect Fromentin’s Dominique critically in Flaubert’s Salammbô – and vice versa – by means of the aesthetic compasses of critical reader response in 1862, and their authors’ earlier travel writing. In therefore arguing by example for renewed examination of important works in word and image in Second Empire France that appear the same year, the article reorientates twenty-first-century critical debate concerning the status and aesthetic perspectives of mature, representative, enduring and canonical works in nineteenth-century French and Francophone Studies.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"27 1","pages":"114 - 133"},"PeriodicalIF":0.1,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42358437","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 : 2023-07-03DOI: 10.1080/14787318.2023.2218220
M. Tilby
ABSTRACT This article begins by providing a contextual account of the different ways in which contemporaries of Baudelaire and Manet subscribed to a widespread, though not universal, assumption that the two shared common artistic aims. The article then seeks to establish aesthetic parallels between Manet’s La Musique aux Tuileries (1862) and Baudelaire’s ‘Le Thyrse’ (1863). Sidestepping the vexed question of the extent to which Manet may be seen as an embodiment of Baudelaire’s peintre de la vie moderne, the analysis focuses on the heterodox function of the visual object in triggering a self-reflexive representation of an act of seeing.
{"title":"Baudelaire, Manet and the Visual Object","authors":"M. Tilby","doi":"10.1080/14787318.2023.2218220","DOIUrl":"https://doi.org/10.1080/14787318.2023.2218220","url":null,"abstract":"ABSTRACT This article begins by providing a contextual account of the different ways in which contemporaries of Baudelaire and Manet subscribed to a widespread, though not universal, assumption that the two shared common artistic aims. The article then seeks to establish aesthetic parallels between Manet’s La Musique aux Tuileries (1862) and Baudelaire’s ‘Le Thyrse’ (1863). Sidestepping the vexed question of the extent to which Manet may be seen as an embodiment of Baudelaire’s peintre de la vie moderne, the analysis focuses on the heterodox function of the visual object in triggering a self-reflexive representation of an act of seeing.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"27 1","pages":"170 - 193"},"PeriodicalIF":0.1,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46237531","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 : 2023-07-03DOI: 10.1080/14787318.2023.2218215
Elizabeth Geary Keohane
ABSTRACT Building on a tantalizing footnote by Anne-Marie Christin, my article analyses the illustrated editions of André Gide's Le Voyage d'Urien in tandem. It looks at the 1893 edition, a collaboration between Gide and Maurice Denis, and the 1928 edition, featuring illustrations by Alfred Latour. I explore the impact the two sets of illustrations might have on our reading of Urien's travels, demonstrating the potential these divergent visuals have to (re)shape our perceptions of the narrative's central journey. The co-existence of these editions also helps us ask how the illustrations add to and even disrupt conceptions of the reading process.
{"title":"(Dé)doublement as Radical Aesthetic in Le Voyage d’Urien: Gide, Denis and Latour","authors":"Elizabeth Geary Keohane","doi":"10.1080/14787318.2023.2218215","DOIUrl":"https://doi.org/10.1080/14787318.2023.2218215","url":null,"abstract":"ABSTRACT Building on a tantalizing footnote by Anne-Marie Christin, my article analyses the illustrated editions of André Gide's Le Voyage d'Urien in tandem. It looks at the 1893 edition, a collaboration between Gide and Maurice Denis, and the 1928 edition, featuring illustrations by Alfred Latour. I explore the impact the two sets of illustrations might have on our reading of Urien's travels, demonstrating the potential these divergent visuals have to (re)shape our perceptions of the narrative's central journey. The co-existence of these editions also helps us ask how the illustrations add to and even disrupt conceptions of the reading process.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"27 1","pages":"218 - 232"},"PeriodicalIF":0.1,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45556806","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 : 2023-07-03DOI: 10.1080/14787318.2023.2218212
Maria C. Scott
ABSTRACT This article focuses on human-thing interconnections in Baudelaire’s 1853 essay on toys, ‘Morale du joujou’, and shows how their entanglement finds echoes in his aesthetic writing. The article shows how the essay on toys indirectly thematizes the reciprocally transformative, embodied and participatory process that can also be traced in Baudelaire’s account of artistic creativity. The human imagination is presented in Baudelaire’s essay, as in his art criticism, as entering into a kind of dialogue with the external world, which complicates the line between, and any hierarchical relationship between, subject and object.
{"title":"What is the Moral of ‘Morale du joujou’? Toys and the Interconnections Between Human and Thing","authors":"Maria C. Scott","doi":"10.1080/14787318.2023.2218212","DOIUrl":"https://doi.org/10.1080/14787318.2023.2218212","url":null,"abstract":"ABSTRACT This article focuses on human-thing interconnections in Baudelaire’s 1853 essay on toys, ‘Morale du joujou’, and shows how their entanglement finds echoes in his aesthetic writing. The article shows how the essay on toys indirectly thematizes the reciprocally transformative, embodied and participatory process that can also be traced in Baudelaire’s account of artistic creativity. The human imagination is presented in Baudelaire’s essay, as in his art criticism, as entering into a kind of dialogue with the external world, which complicates the line between, and any hierarchical relationship between, subject and object.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"27 1","pages":"151 - 169"},"PeriodicalIF":0.1,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49123118","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 : 2023-07-03DOI: 10.1080/14787318.2023.2218211
S. Gubbins
ABSTRACT This article analyses interconnections between the newspaper press and the creative processes of Gérard de Nerval and Charles Baudelaire. From Nerval's dizzying challenge to press restrictions in Les Faux Saulniers (1850), to Baudelaire's harnessing of the cacophony of La Presse in his placement of the petits poèmes en prose, the press environment becomes a unique site of experimentation in prose. Focusing on their exploitation of the feuilleton as a means of contending with press restrictions, I demonstrate that these poets' engagement with newspapers is inseparable from their aesthetic achievements.
{"title":"Journalistic Intermediation: The Newspaper Poetics of Nerval and Baudelaire","authors":"S. Gubbins","doi":"10.1080/14787318.2023.2218211","DOIUrl":"https://doi.org/10.1080/14787318.2023.2218211","url":null,"abstract":"ABSTRACT This article analyses interconnections between the newspaper press and the creative processes of Gérard de Nerval and Charles Baudelaire. From Nerval's dizzying challenge to press restrictions in Les Faux Saulniers (1850), to Baudelaire's harnessing of the cacophony of La Presse in his placement of the petits poèmes en prose, the press environment becomes a unique site of experimentation in prose. Focusing on their exploitation of the feuilleton as a means of contending with press restrictions, I demonstrate that these poets' engagement with newspapers is inseparable from their aesthetic achievements.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"27 1","pages":"134 - 150"},"PeriodicalIF":0.1,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49610559","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 : 2023-07-03DOI: 10.1080/14787318.2023.2218214
T. Dolan
ABSTRACT Critics and art historians writing about Jeanne Duval, the subject of Édouard Manet’s 1862 La Maîtresse de Baudelaire, have provided multiple reactions to her, many of them viciously racist. Contemporary novels and short stories have appeared that counter the negative constructions of Duval, casting her not as la muse malade of Baudelaire’s poetry, but using her as a stimulus for their creative inspiration as Baudelaire himself had done. Recent efforts by artists such as Maud Sulter and Lorraine O’Grady have dismantled the scaffolding of contempt that has distorted Duval’s reputation by appropriating nineteenth-century images within a twenty-first-century context.
{"title":"A Black Life Mattered: Jeanne Duval Then and Now","authors":"T. Dolan","doi":"10.1080/14787318.2023.2218214","DOIUrl":"https://doi.org/10.1080/14787318.2023.2218214","url":null,"abstract":"ABSTRACT Critics and art historians writing about Jeanne Duval, the subject of Édouard Manet’s 1862 La Maîtresse de Baudelaire, have provided multiple reactions to her, many of them viciously racist. Contemporary novels and short stories have appeared that counter the negative constructions of Duval, casting her not as la muse malade of Baudelaire’s poetry, but using her as a stimulus for their creative inspiration as Baudelaire himself had done. Recent efforts by artists such as Maud Sulter and Lorraine O’Grady have dismantled the scaffolding of contempt that has distorted Duval’s reputation by appropriating nineteenth-century images within a twenty-first-century context.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"27 1","pages":"194 - 217"},"PeriodicalIF":0.1,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49377462","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 : 2023-07-03DOI: 10.1080/14787318.2023.2218218
R. Little
ABSTRACT A personal tribute to a much-valued colleague and friend including particular reference to the finalizing of work on her edition of Édouard de Tocqueville, Voyage en Angleterre, en Écosse et en Irlande.
摘要：对一位备受尊敬的同事和朋友的个人致敬，其中特别提到了她出版的《托克维尔Édouard de Tocqueville》、《Angletere之旅》、《enÉcosse et en Irlande》的定稿。
{"title":"Barbara Wright (1935–2019): A Personal Tribute","authors":"R. Little","doi":"10.1080/14787318.2023.2218218","DOIUrl":"https://doi.org/10.1080/14787318.2023.2218218","url":null,"abstract":"ABSTRACT\u0000 A personal tribute to a much-valued colleague and friend including particular reference to the finalizing of work on her edition of Édouard de Tocqueville, Voyage en Angleterre, en Écosse et en Irlande.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"27 1","pages":"233 - 236"},"PeriodicalIF":0.1,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49396305","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 : 2023-07-03DOI: 10.1080/14787318.2023.2218216
T. Dolan, C. Moran, M. Orr, Maria C. Scott
In this special issue we honour the remarkable academic career and prolific scholarship of Barbara Wright (1935–2019) who significantly impacted the field of nineteenthcentury French studies. Her twenty-two books and ninety-five articles testify to her far-ranging academic interests and her authoritative command of interdisciplinarity. Her combination of a well-honed critical eye with a depth of historical knowledge provided a frame for a variety of studies on Honoré de Balzac, Charles Baudelaire, Gustave Moreau, Hector Berlioz, Marcel Proust, Edgar Quinet, Théophile Gautier, Théodore de Banville and Gustave Courbet, to name a few in the panorama of major figures whose works transformed the literary and visual landscape of nineteenth-century France. Her primary focus and most prolific work focused on the career of Eugène Fromentin. Her 1966 edition of his novel Dominique is considered definitive while the 1995 edition of his correspondence, running to some two and a half thousand pages, remains unsurpassed. Her 1987 edition of his paintings and drawings had to be expanded to two volumes in 2008 because of all the discoveries she had made in the meantime. Her highly praised critical biography of Fromentin ran to over 600 pages and was awarded the Prix Roger Bonniot by the Académie de Saintonge for its French translation. In recognition, the city of La Rochelle made her an honorary citizen and dedicated a pathway in her name (Figure 1). This special issue seeks, similarly, to honour a remarkable academic path-maker, on behalf of her immediate colleagues and former students at Trinity College Dublin (four former students of Trinity’s French Department are included in this volume), and on behalf of her extensive and intersecting circles of academic friends in French studies (some of whom contributed to Conroy and Gratton eds. 2005), particularly those associated with the Society of Dix-Neuviémistes and its North American counterpart, Nineteenth-Century French Studies. In her prologue to the issue, Claire Moran, writing as Wright’s former PhD student, highlights the qualities that distinguish preeminent role models and mentors who open doors to their fields and the people in them. The subsequent two articles, by Robert Lethbridge and Mary Orr respectively, turn to the painter and writer to whom Wright devoted the bulk of her career: Fromentin. The following four pieces, by Sarah Gubbins, Maria C. Scott, Michael Tilby and Therese Dolan, all share a more or less direct focus on Baudelaire, who was a major research and teaching interest of Wright’s. Elizabeth Geary Keohane’s article, like others in the volume, bears witness to Wright’s stimulating work on the visual arts, including her interest in word-image relations. Finally, Roger Little, as a longstanding Trinity colleague of
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