Pub Date : 2022-06-25DOI: 10.1080/14787318.2022.2090093
Jennifer Yee
{"title":"Émile Zola’s Black Lives: Colonial Experiments and the Limits of Empathy in La Joie de vivre","authors":"Jennifer Yee","doi":"10.1080/14787318.2022.2090093","DOIUrl":"https://doi.org/10.1080/14787318.2022.2090093","url":null,"abstract":"","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46544533","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 : 2022-04-03DOI: 10.1080/14787318.2022.2095688
Elizabeth Amann
ABSTRACT This essay examines Marie-Caroline Batz de Trenquelléon's novel Georges ou la Révolution de 1830 et l'homme de 1793 (1832), an early response to the Revolution of 1830. Although its author was a legitimist who blamed the French Revolution on Enlightenment thought, the novel is largely based on Voltaire's play Le fanatisme, ou Mahomet le Prophète (1741). This study explores how Batz de Trenquelléon's critique of the Terror echoes Voltaire's denunciation of fanaticism and how she manipulates her historical sources to reinforce a vision of French history in which 1789 and 1830 are part of a single, ongoing conspiracy. Cet essai examine une des premières réponses littéraires à la Révolution de 1830 : Georges ou la Révolution de 1830 et l'homme de 1793 (1832), un roman de Marie-Caroline Batz de Trenquelléon. Bien que son auteur soit une légitimiste qui attribue la Révolution française à la pensée des Lumières, le roman est largement basé sur la pièce de Voltaire, Le fanatisme, ou Mahomet le Prophète (1741). Cette étude explore comment la critique de la Terreur par Batz de Trenquelléon fait écho à la dénonciation du fanatisme par Voltaire et comment elle manipule ses sources historiques pour renforcer une vision de l'histoire de France dans laquelle 1789 et 1830 font partie d'une conspiration unique et continue.
本文考察了玛丽-卡洛琳·巴茨·德·特伦奎伦的小说《乔治或1830年的革命与1793年的人》(1832)，对1830年革命的早期反应。虽然它的作者是一个以启蒙思想谴责法国革命的合法主义者，但这部小说很大程度上是基于伏尔泰的游戏狂热，或先知穆罕默德(1741)。本研究探讨了Batz de trenquelleon对恐怖主义的批评如何呼应伏尔泰对狂热主义的谴责，以及她如何操纵她的历史来源来强化1789年和1830年是单一阴谋的一部分的法国历史观点。本文探讨了对1830年革命最早的文学回应之一:玛丽-卡罗琳·巴茨·德trenquelleon的小说《乔治或1830年的革命与1793年的人》(1832)。尽管作者是一位正统主义者，他将法国大革命归因于启蒙运动的思想，但这部小说很大程度上是基于伏尔泰的戏剧《狂热》或《先知穆罕默德》(1741)。本研究探讨了Batz de trenquelleon对恐怖主义的批评如何呼应伏尔泰对狂热主义的谴责，以及它如何利用其历史来源来加强1789年和1830年是一个单一和持续阴谋的一部分的法国历史愿景。
{"title":"July Revolution as Repetition Compulsion: Batz de Trenquelléon’s Georges ou la Révolution de 1830 et l’homme de 1793","authors":"Elizabeth Amann","doi":"10.1080/14787318.2022.2095688","DOIUrl":"https://doi.org/10.1080/14787318.2022.2095688","url":null,"abstract":"ABSTRACT This essay examines Marie-Caroline Batz de Trenquelléon's novel Georges ou la Révolution de 1830 et l'homme de 1793 (1832), an early response to the Revolution of 1830. Although its author was a legitimist who blamed the French Revolution on Enlightenment thought, the novel is largely based on Voltaire's play Le fanatisme, ou Mahomet le Prophète (1741). This study explores how Batz de Trenquelléon's critique of the Terror echoes Voltaire's denunciation of fanaticism and how she manipulates her historical sources to reinforce a vision of French history in which 1789 and 1830 are part of a single, ongoing conspiracy. Cet essai examine une des premières réponses littéraires à la Révolution de 1830 : Georges ou la Révolution de 1830 et l'homme de 1793 (1832), un roman de Marie-Caroline Batz de Trenquelléon. Bien que son auteur soit une légitimiste qui attribue la Révolution française à la pensée des Lumières, le roman est largement basé sur la pièce de Voltaire, Le fanatisme, ou Mahomet le Prophète (1741). Cette étude explore comment la critique de la Terreur par Batz de Trenquelléon fait écho à la dénonciation du fanatisme par Voltaire et comment elle manipule ses sources historiques pour renforcer une vision de l'histoire de France dans laquelle 1789 et 1830 font partie d'une conspiration unique et continue.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41645685","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 : 2022-04-03DOI: 10.1080/14787318.2022.2085021
K. Foster
ABSTRACT The department store mannequin is often read as representative of commodity or sexual fetishism and, consequently, of woman objectified. This article posits that in Émile Zola’s Au Bonheur des Dames (1883), the mannequin can highlight such objectification to the woman in the text. Through close readings of the text's mannequins this article seeks to analyse the combination of estrangement and excitement which characterizes the experience of living under modernity. It asks whether the headless Zolian mannequin empowers the shopper to recognize and thus reject objectification of the self, or if it is simply a disquieting reminder of one’s own powerlessness.
{"title":"Lèche-vitrines: Human Identity and the Mannequin in Au Bonheur des Dames","authors":"K. Foster","doi":"10.1080/14787318.2022.2085021","DOIUrl":"https://doi.org/10.1080/14787318.2022.2085021","url":null,"abstract":"ABSTRACT The department store mannequin is often read as representative of commodity or sexual fetishism and, consequently, of woman objectified. This article posits that in Émile Zola’s Au Bonheur des Dames (1883), the mannequin can highlight such objectification to the woman in the text. Through close readings of the text's mannequins this article seeks to analyse the combination of estrangement and excitement which characterizes the experience of living under modernity. It asks whether the headless Zolian mannequin empowers the shopper to recognize and thus reject objectification of the self, or if it is simply a disquieting reminder of one’s own powerlessness.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59869525","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 : 2022-04-03DOI: 10.1080/14787318.2022.2083924
Greg Kerr
ABSTRACT In the early 1890s, Jules Lévy organised a series of artistic exhibitions under the title of Les Arts Incohérents. Affiliated with Montmartre cabaret culture, the events lampooned the conventions of the Parisian salons and the conventions and institutions of the fine arts. This article explores the importance of the figure of the blank in a selection of art exhibited by the Incohérents. Adopting a word-and-image-based approach, and drawing on theories of comedy and laughter, the article shows how the Incéohérents' incipient avant-gardism interrogates the limits of the different arts and points to a novel inflection of humour in the period.
{"title":"Drawing Blanks: Word and Image at the Expositions des Incohérents","authors":"Greg Kerr","doi":"10.1080/14787318.2022.2083924","DOIUrl":"https://doi.org/10.1080/14787318.2022.2083924","url":null,"abstract":"ABSTRACT In the early 1890s, Jules Lévy organised a series of artistic exhibitions under the title of Les Arts Incohérents. Affiliated with Montmartre cabaret culture, the events lampooned the conventions of the Parisian salons and the conventions and institutions of the fine arts. This article explores the importance of the figure of the blank in a selection of art exhibited by the Incohérents. Adopting a word-and-image-based approach, and drawing on theories of comedy and laughter, the article shows how the Incéohérents' incipient avant-gardism interrogates the limits of the different arts and points to a novel inflection of humour in the period.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48400010","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 : 2022-04-03DOI: 10.1080/14787318.2022.2092933
Warren Johnson
ABSTRACT Hector Malot’s 1882 novel, Les millions honteux, highlights the interconnections between money and representational practice. Malot’s critique in this neglected text of the construction of personal reputation through journalistic manipulation demonstrates the inextricable linkage between scandal and the press, and suggests the way that scandals themselves might be constructed or inflated like public images by unscrupulous journalists.
马洛(Hector Malot) 1882年的小说《百万富翁》(Les millions honteux)突出了金钱与代表性实践之间的联系。在这篇被忽视的文章中，马洛对通过新闻操纵来构建个人声誉的批评表明，丑闻与媒体之间有着不可分割的联系，并暗示了丑闻本身可能被肆无忌惮的记者构建或夸大的方式，就像公众形象一样。
{"title":"Silencing Scandal: Hector Malot’s Les millions honteux","authors":"Warren Johnson","doi":"10.1080/14787318.2022.2092933","DOIUrl":"https://doi.org/10.1080/14787318.2022.2092933","url":null,"abstract":"ABSTRACT\u0000 Hector Malot’s 1882 novel, Les millions honteux, highlights the interconnections between money and representational practice. Malot’s critique in this neglected text of the construction of personal reputation through journalistic manipulation demonstrates the inextricable linkage between scandal and the press, and suggests the way that scandals themselves might be constructed or inflated like public images by unscrupulous journalists.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42895316","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 : 2022-01-02DOI: 10.1080/14787318.2021.2022877
Marion Glaumaud-Carbonnier
ABSTRACT Curieusement, les personnages des récits racontant le conflit franco-prussien semblent tous partager la même ascendance : ils descendent d'un parent identique, d'un vieillard qui se répète d'histoire en histoire, d'un grand-père ayant participé aux guerres du début du xixe siècle, et qui fait peser son empire sur sa descendance. En s'intéressant à la brisure qui rompt le lien généalogique entre les aïeux victorieux du début du siècle et la génération vaincue de 1870, cet article a pour enjeu d'analyser la valeur de ce personnage 1800 et de comprendre la fonction morale que la fiction accorde à ces figures tutélaires.
{"title":"L’empire des grands-pères : crise de succession dans les fictions de la défaite de 1870–71","authors":"Marion Glaumaud-Carbonnier","doi":"10.1080/14787318.2021.2022877","DOIUrl":"https://doi.org/10.1080/14787318.2021.2022877","url":null,"abstract":"ABSTRACT Curieusement, les personnages des récits racontant le conflit franco-prussien semblent tous partager la même ascendance : ils descendent d'un parent identique, d'un vieillard qui se répète d'histoire en histoire, d'un grand-père ayant participé aux guerres du début du xixe siècle, et qui fait peser son empire sur sa descendance. En s'intéressant à la brisure qui rompt le lien généalogique entre les aïeux victorieux du début du siècle et la génération vaincue de 1870, cet article a pour enjeu d'analyser la valeur de ce personnage 1800 et de comprendre la fonction morale que la fiction accorde à ces figures tutélaires.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44830411","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 : 2022-01-02DOI: 10.1080/14787318.2022.2038515
Hannah Frydman
ABSTRACT The lesbian past is difficult to recover because traces of it are sparse in the archives. This archival absence, however, is not a straightforward effect of silencing. This paper shows how lesbian invisibility was a conscious production, a shield to protect queer women's lives. Using the often misogynist nineteenth-century French sapphic canon, women seeking women in the late nineteenth and early twentieth centuries found ways of communicating privately in public in newspaper classifieds and correspondence sections using characters, details, and tropes from these works and turning them away from their original moralizing ends.
{"title":"Reading Incognito: Periodicals, Sapphic Fictions, and Lesbian Communication","authors":"Hannah Frydman","doi":"10.1080/14787318.2022.2038515","DOIUrl":"https://doi.org/10.1080/14787318.2022.2038515","url":null,"abstract":"ABSTRACT The lesbian past is difficult to recover because traces of it are sparse in the archives. This archival absence, however, is not a straightforward effect of silencing. This paper shows how lesbian invisibility was a conscious production, a shield to protect queer women's lives. Using the often misogynist nineteenth-century French sapphic canon, women seeking women in the late nineteenth and early twentieth centuries found ways of communicating privately in public in newspaper classifieds and correspondence sections using characters, details, and tropes from these works and turning them away from their original moralizing ends.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43783152","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 : 2021-12-22DOI: 10.1080/14787318.2021.2010167
Eleanor Stefiuk
ABSTRACT This article revisits Villiers de L'Isle-Adam's political affinities with fin-de-siècle anarchism through a reading of two of his late short stories, ‘Le Banquet des Éventualistes' and ‘L'Etna chez soi'. My re-evaluation involves moving away from l'ère des attentats of 1892–94 and returning to the Paris Commune as a key event for anarchism. Drawing on the work of Kristin Ross and Julia Nicholls as well as Villiers's own experiences of the Commune, I explore how Villiers situates anarchism within the Commune’s legacy, an act of political allyship that somewhat fittingly earns him an anarchist afterlife amongst his contemporaries and beyond.
{"title":"Villiers de L’Isle-Adam’s Anarchism: A Legacy of the Paris Commune","authors":"Eleanor Stefiuk","doi":"10.1080/14787318.2021.2010167","DOIUrl":"https://doi.org/10.1080/14787318.2021.2010167","url":null,"abstract":"ABSTRACT This article revisits Villiers de L'Isle-Adam's political affinities with fin-de-siècle anarchism through a reading of two of his late short stories, ‘Le Banquet des Éventualistes' and ‘L'Etna chez soi'. My re-evaluation involves moving away from l'ère des attentats of 1892–94 and returning to the Paris Commune as a key event for anarchism. Drawing on the work of Kristin Ross and Julia Nicholls as well as Villiers's own experiences of the Commune, I explore how Villiers situates anarchism within the Commune’s legacy, an act of political allyship that somewhat fittingly earns him an anarchist afterlife amongst his contemporaries and beyond.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45213333","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 : 2021-10-02DOI: 10.1080/14787318.2021.2017557
M. R. Kessler
ABSTRACT I consider materiality as a lens of art historical analysis and demonstrate how this critical framework drives us to examine the agency not just of the visible and tangible substance of a work, but also of the unseen experiences of the artist, the medium, and the viewer. Focusing on a pastel by Edgar Degas, I further contend that study of the material depths and visceral procedures of objects in this medium reveals that the artist, who would have blown away the excess dusts that accumulated as he worked, is uniquely embedded in the very material fabric of the image.
{"title":"Degas’s Breath and The Materiality of Pastel Veils","authors":"M. R. Kessler","doi":"10.1080/14787318.2021.2017557","DOIUrl":"https://doi.org/10.1080/14787318.2021.2017557","url":null,"abstract":"ABSTRACT I consider materiality as a lens of art historical analysis and demonstrate how this critical framework drives us to examine the agency not just of the visible and tangible substance of a work, but also of the unseen experiences of the artist, the medium, and the viewer. Focusing on a pastel by Edgar Degas, I further contend that study of the material depths and visceral procedures of objects in this medium reveals that the artist, who would have blown away the excess dusts that accumulated as he worked, is uniquely embedded in the very material fabric of the image.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42488441","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 : 2021-10-02DOI: 10.1080/14787318.2021.2017558
Patrick M. Bray
ABSTRACT Looking at the conditions of academic work in nineteenth-century French literature as well as the foundations of the discipline of literary studies, this article argues that the study of literature in an historical context allows for a flexibility in conceptual frameworks. Readings attentive to the anxiety of overinterpreting the past, creating the possibility for us to compare the differences between historical ways of ordering perception, that is to say how new concepts emerge from textual forms. Works written around the events of July 1830, Hugo’s Notre-Dame de Paris, Stendhal’s Le Rouge et le Noir, and Sand’s Indiana serve as a case study.
{"title":"Anxious Influencers – Reading the Nineteenth Century in 2021","authors":"Patrick M. Bray","doi":"10.1080/14787318.2021.2017558","DOIUrl":"https://doi.org/10.1080/14787318.2021.2017558","url":null,"abstract":"ABSTRACT Looking at the conditions of academic work in nineteenth-century French literature as well as the foundations of the discipline of literary studies, this article argues that the study of literature in an historical context allows for a flexibility in conceptual frameworks. Readings attentive to the anxiety of overinterpreting the past, creating the possibility for us to compare the differences between historical ways of ordering perception, that is to say how new concepts emerge from textual forms. Works written around the events of July 1830, Hugo’s Notre-Dame de Paris, Stendhal’s Le Rouge et le Noir, and Sand’s Indiana serve as a case study.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41539904","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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