Pub Date : 2022-10-02DOI: 10.1080/14787318.2023.2166854
Maude Bass-Krueger
ABSTRACT This article re-evaluates Jules Quicherat's (1814-1882) contributions to French dress studies. Quicherat was the first French historian to develop a theory on the development of clothing in French history by analyzing material artifacts, pictorial, textual, and philological sources. This paper argues that Quicherat should be recognized as the founder of French dress studies, and that his book, Histoire du costume en France, depuis les temps les plus reculés jusqu'à la fin du XVIIIe siècle (1875), is a key text that established a method, theory, and framework for understanding dress history.
{"title":"The Power of (Writing) History: Jules Quicherat, France’s First Fashion Historian","authors":"Maude Bass-Krueger","doi":"10.1080/14787318.2023.2166854","DOIUrl":"https://doi.org/10.1080/14787318.2023.2166854","url":null,"abstract":"ABSTRACT This article re-evaluates Jules Quicherat's (1814-1882) contributions to French dress studies. Quicherat was the first French historian to develop a theory on the development of clothing in French history by analyzing material artifacts, pictorial, textual, and philological sources. This paper argues that Quicherat should be recognized as the founder of French dress studies, and that his book, Histoire du costume en France, depuis les temps les plus reculés jusqu'à la fin du XVIIIe siècle (1875), is a key text that established a method, theory, and framework for understanding dress history.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41603358","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 : 2022-10-02DOI: 10.1080/14787318.2023.2166856
John Finkelberg
ABSTRACT The iconography of King Louis-Philippe I and his invoices for garments purchased new and refurbished between 1831 and 1846 bring to light how the July Monarchy deployed fashionable menswear in a canny politics of image-making. In doing so the regime used dress to establish the credentials of the new regime. This work examines Louis-Philippe’s iconography alongside the written records of his purchasing habits to show how the regime used a strategic combination of visually tame military uniforms and subdued, but fashionable civilian menswear to create a new visual and sartorial vocabulary meant to legitimize the monarchy.
{"title":"Dressing the Part: King Louis-Philippe I, Tailoring, and Fashioning the July Monarchy","authors":"John Finkelberg","doi":"10.1080/14787318.2023.2166856","DOIUrl":"https://doi.org/10.1080/14787318.2023.2166856","url":null,"abstract":"ABSTRACT The iconography of King Louis-Philippe I and his invoices for garments purchased new and refurbished between 1831 and 1846 bring to light how the July Monarchy deployed fashionable menswear in a canny politics of image-making. In doing so the regime used dress to establish the credentials of the new regime. This work examines Louis-Philippe’s iconography alongside the written records of his purchasing habits to show how the regime used a strategic combination of visually tame military uniforms and subdued, but fashionable civilian menswear to create a new visual and sartorial vocabulary meant to legitimize the monarchy.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41720546","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 : 2022-10-02DOI: 10.1080/14787318.2023.2166860
Susan Hiner
Fashion and power have been inextricably linked in France at least since sumptuary laws were enacted in the Middle Ages to regulate the consumption and display of wealth and grandeur. As Montaigne astutely pointed out in his essay entitled ‘Des lois somptuaires,’ however, as with anything governed by desire, interdiction only enhanced fashion’s power, and sumptuary laws in France lost their teeth well before the National Assembly abolished them in 1793 (Fairchilds, 2000 419). By the nineteenth century, sumptuary laws had long been replaced by fashion’s own laws; endlessly changeable rules dictated by the oracles of a fashion press vying for advertising revenues were anxiously followed by a public of women and men eager to situate themselves within a shifting social landscape. Distinction was the new, more nuanced bras de fer, and fashion was its velvet glove. Fashion’s soft power thus functioned not only as the foreign policy tool of France’s political and economic will, as it had been so deftly deployed by French monarchs for centuries to ensure the success of domestic production and colonial expansion, but now it had also penetrated the domestic zone to shape French society, politics, national identity, gender roles, and history itself. The term ‘soft power’ originated as a political theory used to explain how attractiveness and forms of cultural branding can co-opt, influence, and dominate social and national behaviours. While it may have its roots in the discourse of diplomacy, the term can also be fruitfully applied to an exploration of the ways in which fashion operated on people and shaped their behaviour, especially in the nineteenth century, when more ostensible power structures had been relegated to the realm of the ‘ancien.’ The machinations of soft power worked through the nineteenth-century French fashion system in a variety of ways, from military optics and gender politics to commercial alliances and emerging national discourses, sometimes empowering those with marginal or dubious power, but sometimes also consolidating or reflecting the regulatory powers that be. This special issue of Dix-Neuf adopts the concept of ‘soft power’ to elaborate an important vector of influence and potential resistance in nineteenth-century France: fashion discourse in its multiple forms, whether material, linguistic, visual, or epistemological. For, as the articles published here show, fashion details—from accessories and undergarments to the cut of a coat, easily overlooked but omnipresent in literature, visual and material culture, political strategy, commercial enterprise, and even historical constructions of nationhood—intersected with and shaped in key ways the evolving
{"title":"Fashion’s Soft Power in Nineteenth-Century France: Introduction","authors":"Susan Hiner","doi":"10.1080/14787318.2023.2166860","DOIUrl":"https://doi.org/10.1080/14787318.2023.2166860","url":null,"abstract":"Fashion and power have been inextricably linked in France at least since sumptuary laws were enacted in the Middle Ages to regulate the consumption and display of wealth and grandeur. As Montaigne astutely pointed out in his essay entitled ‘Des lois somptuaires,’ however, as with anything governed by desire, interdiction only enhanced fashion’s power, and sumptuary laws in France lost their teeth well before the National Assembly abolished them in 1793 (Fairchilds, 2000 419). By the nineteenth century, sumptuary laws had long been replaced by fashion’s own laws; endlessly changeable rules dictated by the oracles of a fashion press vying for advertising revenues were anxiously followed by a public of women and men eager to situate themselves within a shifting social landscape. Distinction was the new, more nuanced bras de fer, and fashion was its velvet glove. Fashion’s soft power thus functioned not only as the foreign policy tool of France’s political and economic will, as it had been so deftly deployed by French monarchs for centuries to ensure the success of domestic production and colonial expansion, but now it had also penetrated the domestic zone to shape French society, politics, national identity, gender roles, and history itself. The term ‘soft power’ originated as a political theory used to explain how attractiveness and forms of cultural branding can co-opt, influence, and dominate social and national behaviours. While it may have its roots in the discourse of diplomacy, the term can also be fruitfully applied to an exploration of the ways in which fashion operated on people and shaped their behaviour, especially in the nineteenth century, when more ostensible power structures had been relegated to the realm of the ‘ancien.’ The machinations of soft power worked through the nineteenth-century French fashion system in a variety of ways, from military optics and gender politics to commercial alliances and emerging national discourses, sometimes empowering those with marginal or dubious power, but sometimes also consolidating or reflecting the regulatory powers that be. This special issue of Dix-Neuf adopts the concept of ‘soft power’ to elaborate an important vector of influence and potential resistance in nineteenth-century France: fashion discourse in its multiple forms, whether material, linguistic, visual, or epistemological. For, as the articles published here show, fashion details—from accessories and undergarments to the cut of a coat, easily overlooked but omnipresent in literature, visual and material culture, political strategy, commercial enterprise, and even historical constructions of nationhood—intersected with and shaped in key ways the evolving","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48467518","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 : 2022-10-02DOI: 10.1080/14787318.2023.2166862
Sara Phenix
ABSTRACT This essay examines fertility politics in Zola's Pot—Bouille (1882) and Au Bonheur des dames (1883) in terms of the controversial and ubiquitous foundation garment of nineteenth—century women's dress: the corset. The corset exemplifies the novels' concerns with good form — good form meaning both the ideal feminine silhouette and the code of bourgeois propriety. The corset abets a series of reproductive failures in the narratives and thus incarnates contemporary fears about fashion—induced dénatalité. Zola ultimately condemns the hypocrisy of social attitudes that deemed pregnancy “indecent” and underscores the danger of placing intractable constraints — whether sartorial or cultural — on the maternal body.
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Pub Date : 2022-10-02DOI: 10.1080/14787318.2023.2166863
Kasia Stempniak
ABSTRACT Zola’s 1876 novel Son Excellence Eugène Rougon explores power in its myriad forms in Second Empire Paris. Scholarly discussions, however, have sidestepped the novel’s exploration of soft power. Clorinde Balbi, Rougon’s spurned lover, demonstrates an ability to persuade through non-coercive means by deploying a peculiar arsenal of sartorial strategies including wearing wrinkled or muddy clothing. In Le Mal propre (2008), Michel Serres argues that through dirt we appropriate space and that it ‘signe la volonté de puissance.’ Clorinde’s clothing from her urban sojourns visibly manifests her appropriation of Parisian space. Dirt, in other words, is an instrument of soft power.
摘要：左拉1876年的小说《卓越之子》探讨了第二帝国巴黎的各种权力形式。然而，学术界的讨论回避了小说对软实力的探索。Rougon被抛弃的情人Clorinde Balbi展示了通过非胁迫手段进行说服的能力，他运用了一系列独特的服装策略，包括穿着褶皱或泥泞的衣服。在Le Mal propre（2008）中，Michel Serres认为，通过泥土，我们可以获得适当的空间，它“标志着力量的力量”Clorinde在城市逗留期间的服装明显地体现了她对巴黎空间的占有。换句话说，污垢是软实力的工具。
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Pub Date : 2022-10-02DOI: 10.1080/14787318.2023.2166858
A. Green
ABSTRACT Grenoble’s presentation of 300 pairs of embroidered leather gloves to Empress Eugénie in 1860 exemplifies the traditional use of gloves as soft power. But the huge increase in glove-manufacturing and glove-wearing in nineteenth-century France gave gloves greater influence than ever before. As a powerful tool of social discrimination, they could reveal much about the wearer’s class, character, habits and morals. Novelists and playwrights soon recognized gloves’ potent symbolism: many literary examples portray gloves as agents of seduction, corruption, deceit or humiliation. For some writers, gloves had the power to disturb. For others, they were emblematic of France itself.
{"title":"The Discreet Power of Nineteenth-Century Gloves","authors":"A. Green","doi":"10.1080/14787318.2023.2166858","DOIUrl":"https://doi.org/10.1080/14787318.2023.2166858","url":null,"abstract":"ABSTRACT Grenoble’s presentation of 300 pairs of embroidered leather gloves to Empress Eugénie in 1860 exemplifies the traditional use of gloves as soft power. But the huge increase in glove-manufacturing and glove-wearing in nineteenth-century France gave gloves greater influence than ever before. As a powerful tool of social discrimination, they could reveal much about the wearer’s class, character, habits and morals. Novelists and playwrights soon recognized gloves’ potent symbolism: many literary examples portray gloves as agents of seduction, corruption, deceit or humiliation. For some writers, gloves had the power to disturb. For others, they were emblematic of France itself.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43314253","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 : 2022-07-03DOI: 10.1080/14787318.2022.2124798
Sihem Gounni
ABSTRACT Suscitant une réévaluation des critères de définition du consentement jusqu'alors en vigueur, le procès de Castellan (1865) pour viol sous emprise magnétique de Joséphine Hugues manifeste les prémisses de la reconnaissance médico-légale d'états de conscience modifiée. Cet article propose de s'emparer des questions soulevées par cette affaire, dont le travail de Nicole Edelman a valorisé l'intérêt historiographique, en mettant notamment en avant le poids des représentations sociales de la marginalité et de la féminité sur le verdict. L'affaire Castellan sera également abordée à la lumière de la littérature villiérienne qui, glissant du cas au conte, les discours d'autorité à leur contingence épistémique.
{"title":"La vierge et le vagabond: Relire l’affaire Castellan à travers ses représentations médico-légales, sociales et littéraires","authors":"Sihem Gounni","doi":"10.1080/14787318.2022.2124798","DOIUrl":"https://doi.org/10.1080/14787318.2022.2124798","url":null,"abstract":"ABSTRACT Suscitant une réévaluation des critères de définition du consentement jusqu'alors en vigueur, le procès de Castellan (1865) pour viol sous emprise magnétique de Joséphine Hugues manifeste les prémisses de la reconnaissance médico-légale d'états de conscience modifiée. Cet article propose de s'emparer des questions soulevées par cette affaire, dont le travail de Nicole Edelman a valorisé l'intérêt historiographique, en mettant notamment en avant le poids des représentations sociales de la marginalité et de la féminité sur le verdict. L'affaire Castellan sera également abordée à la lumière de la littérature villiérienne qui, glissant du cas au conte, les discours d'autorité à leur contingence épistémique.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46024137","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 : 2022-07-03DOI: 10.1080/14787318.2022.2136846
Maria Beliaeva Solomon
ABSTRACT « L'horrible vrai est toujours plus horrible encore ! » s'exclame un personnage d'Une conversation entre onze heures et minuit – conte saturé de violence que Balzac intègre, avec Le Grand d'Espagne, au recueil collectif des Contes bruns, composé à la faveur de la mode frénétique et horrifiante. Ces textes, qui ironisent sur les lois de la littérature marchande tout en y acquiesçant, apportent un éclairage essentiel sur les questionnements que l'écriture balzacienne émet sur elle-même, alors que Balzac s'apprête à abandonner la forme du conte pour le projet, expansif et totalisant, d'une œuvre représentative de la société moderne.
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Pub Date : 2022-07-03DOI: 10.1080/14787318.2022.2129286
Darci L. Gardner
ABSTRACT Marie Kysinska was a pioneer of French free verse, but her detractors characterized her work as derivative. Responding to them, her last collection, Intermèdes: Nouveaux rythmes pittoresques (1903), distances her poetry from its sources of inspiration. Although Intermèdes is replete with borrowed material—from pieces that Krysinska published earlier and from contemporaries' works—Krysinska's appropriations consistently subvert traditions. This article examines poems that indicate how Krysinska's revisions of her own texts and palimpsests of others' works renovate literary conventions. The following readings illustrate the intellectual independence that Krysinska asserted as her career advanced and her efforts to transform inherited paradigms.
{"title":"Appropriation and Revision as Subversion in Intermèdes: Krysinska’s Palimpsests","authors":"Darci L. Gardner","doi":"10.1080/14787318.2022.2129286","DOIUrl":"https://doi.org/10.1080/14787318.2022.2129286","url":null,"abstract":"ABSTRACT Marie Kysinska was a pioneer of French free verse, but her detractors characterized her work as derivative. Responding to them, her last collection, Intermèdes: Nouveaux rythmes pittoresques (1903), distances her poetry from its sources of inspiration. Although Intermèdes is replete with borrowed material—from pieces that Krysinska published earlier and from contemporaries' works—Krysinska's appropriations consistently subvert traditions. This article examines poems that indicate how Krysinska's revisions of her own texts and palimpsests of others' works renovate literary conventions. The following readings illustrate the intellectual independence that Krysinska asserted as her career advanced and her efforts to transform inherited paradigms.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41493676","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 : 2022-07-03DOI: 10.1080/14787318.2022.2144339
Sebastian Egholm Lund
ABSTRACT Nineteenth-century France was characterised by theoretical and fictional speculations about planet management, climate change, and anthropogenic power. In this context, Verne's novels strike us as more contemporary than ever. The purpose of his Sans dessus dessous (1889) is a scalar critique that highlights the catastrophic potential of engineering Earth: When terraforming is premised upon extraplanetary sight, it becomes an objectifying instance of ‘anthropoforming’ that mechanically forms Earth in the image of mankind. Reading Sans dessus dessous today evaluates the historical specificity of terraforming while illuminating how ecological crises become the opportune moment for privatising the engineering of Earth.
{"title":"No Earth from Nowhere: Jules Verne’s Critique of Terraforming","authors":"Sebastian Egholm Lund","doi":"10.1080/14787318.2022.2144339","DOIUrl":"https://doi.org/10.1080/14787318.2022.2144339","url":null,"abstract":"ABSTRACT Nineteenth-century France was characterised by theoretical and fictional speculations about planet management, climate change, and anthropogenic power. In this context, Verne's novels strike us as more contemporary than ever. The purpose of his Sans dessus dessous (1889) is a scalar critique that highlights the catastrophic potential of engineering Earth: When terraforming is premised upon extraplanetary sight, it becomes an objectifying instance of ‘anthropoforming’ that mechanically forms Earth in the image of mankind. Reading Sans dessus dessous today evaluates the historical specificity of terraforming while illuminating how ecological crises become the opportune moment for privatising the engineering of Earth.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45360310","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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