Pub Date : 2021-01-02DOI: 10.1080/14787318.2021.1875971
S. Lee
ABSTRACT This article examines the moments in Madame Bovary where wigs are mentioned, reading them as a microscope into the novel’s representation of meaninglessness and its consequences. Starting with the wigs at Vaubyessard, then moving to the solitary wigmaker in Tostes, who serves as a double for Emma, then to the wigmaker in Rouen, and to Emma’s wig at the masked ball, I argue that wigs’ sartorial function and material composition place them at the intersection of – or rather in the crack between – metaphor and metonymy. As such, they serve as clues to the production of the ‘livre sur rien.’
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Pub Date : 2021-01-02DOI: 10.1080/14787318.2021.1900501
Helen McKelvey
ABSTRACT Focussing on a selection of the poems from the 1823 Académie Française's Prix de Poésie, which had for its title l'Abolition de la traite des noirs, this article will explore the key imagery underpinning representations of slavery and arguments for abolition at the time, answering the critical neglect of antislavery poetry and bringing fresh insight to our understanding of the perceptions and representations of early nineteenth-century slavery. Using postcolonial theory, I will interrogate and problematise the narratives the poets have reproduced, as well as analyse the development of abolitionist discourse over the course of the early nineteenth century.
摘要本文从1823年法兰西学院的《波西米亚奖》（Prix de Poésie）中精选了一些诗歌，该奖项的标题是“废除黑色之路”，本文将探讨当时支持奴隶制和废除奴隶制的论点的关键意象，回答了对反奴隶制诗歌的批判性忽视，并为我们理解19世纪早期奴隶制的观念和表现带来了新的见解。运用后殖民理论，我将对诗人们再现的叙事进行质疑和质疑，并分析19世纪初废奴主义话语的发展。
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Pub Date : 2021-01-02DOI: 10.1080/14787318.2021.1886646
P. Young
ABSTRACT In Les Chouans, Balzac casts two central characters – Corentin and Marie de Verneuil – as an Incroyable and a Merveilleuse, extravagantly-dressed figures from the revolutionary era. Analysing the historical and cultural significance of the Incroyable and the Merveilleuse underscores an ambiguity inherent in this novel, as these dandies (here, sent to disable royalist forces) were known for opposing the Revolution. Corentin and Marie de Verneuil, through their remarkable attire, offer an explicit – but ultimately unclear – expression of their political convictions, one that suggests a conflicted attitude towards the historical change they are sent to effect.
{"title":"Incroyable and Merveilleuse: The Politics of Fashion in Balzac’s Les Chouans","authors":"P. Young","doi":"10.1080/14787318.2021.1886646","DOIUrl":"https://doi.org/10.1080/14787318.2021.1886646","url":null,"abstract":"ABSTRACT In Les Chouans, Balzac casts two central characters – Corentin and Marie de Verneuil – as an Incroyable and a Merveilleuse, extravagantly-dressed figures from the revolutionary era. Analysing the historical and cultural significance of the Incroyable and the Merveilleuse underscores an ambiguity inherent in this novel, as these dandies (here, sent to disable royalist forces) were known for opposing the Revolution. Corentin and Marie de Verneuil, through their remarkable attire, offer an explicit – but ultimately unclear – expression of their political convictions, one that suggests a conflicted attitude towards the historical change they are sent to effect.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"25 1","pages":"1 - 16"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2021.1886646","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48243367","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 : 2020-10-01DOI: 10.1080/14787318.2020.1843382
Michael D. Garval
ABSTRACT Ten 1904 postcards, marketing the Odelin Le Rustique stove, spin a fanciful, magical tale, an early example of branded storytelling, within the little–studied medium of Belle Époque advertising postcards. A self–contained series, part of a broader multi– and intermedial campaign, the cards emerged in a fluid media and marketing landscape, as companies experimented with promoting their products. Conveying a world in flux, the series interweaves narrative, cultural, ideological, socioeconomic, racial, and technological threads, to cast this crucial kitchen appliance as a vestige of ancient enchantment, harking back to the prehistoric conquest of fire, and as a key vehicle of modernization.
摘要十张1904年的明信片，营销Odelin Le Rustique炉灶，在BelleÉpoque广告明信片这一鲜为人知的媒介中，讲述了一个异想天开的神奇故事，这是品牌故事的早期例子。这是一个独立的系列，是更广泛的多渠道和中间渠道活动的一部分，随着公司尝试推广其产品，这些卡片出现在流动的媒体和营销环境中。该系列传达了一个不断变化的世界，将叙事、文化、意识形态、社会经济、种族和技术线索交织在一起，将这件至关重要的厨房用具塑造成古代魅力的遗迹，让人想起史前对火的征服，并成为现代化的关键载体。
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Pub Date : 2020-10-01DOI: 10.1080/14787318.2020.1859345
Sara Phenix, Daryl Lee
ABSTRACT Criticism of Au Bonheur des Dames has traditionally framed the novel’s Darwinian dynamics in terms of socioeconomic natural selection. We explore another facet of Darwinism in the novel: sexual selection. The urban modernity of Au Bonheur des Dames belies Zola’s concern with deep time. We consider courtship and seduction in the novel in the context of nineteenth-century theories of evolution. Darwin’s The Descent of Man revised the theory of natural selection to account for aesthetics in mate selection. With its focus on fashion and mating, Au Bonheur is a laboratory for Zola’s ideas about competition and display in human coupling.
{"title":"Ladies’ Choice: Prehistory and Sexual Selection in Au Bonheur des dames","authors":"Sara Phenix, Daryl Lee","doi":"10.1080/14787318.2020.1859345","DOIUrl":"https://doi.org/10.1080/14787318.2020.1859345","url":null,"abstract":"ABSTRACT Criticism of Au Bonheur des Dames has traditionally framed the novel’s Darwinian dynamics in terms of socioeconomic natural selection. We explore another facet of Darwinism in the novel: sexual selection. The urban modernity of Au Bonheur des Dames belies Zola’s concern with deep time. We consider courtship and seduction in the novel in the context of nineteenth-century theories of evolution. Darwin’s The Descent of Man revised the theory of natural selection to account for aesthetics in mate selection. With its focus on fashion and mating, Au Bonheur is a laboratory for Zola’s ideas about competition and display in human coupling.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"24 1","pages":"341 - 365"},"PeriodicalIF":0.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2020.1859345","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47102703","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 : 2020-10-01DOI: 10.1080/14787318.2020.1847011
Madeleine J. Wolf
ABSTRACT This article focuses on the final 'chant' of Les Chants de Maldoror (1869) by the Comte de Lautréamont (Isidore Ducasse). In the enigmatic final scenes, Maldoror stalks and kills a young English man, Mervyn, in the streets of Paris. The murder is detailed in striking geographic detail, and Parisian monuments feature prominently in the young man's demise. Combining close readings with original maps of these final scenes, I compare the Paris of Lautréamont's literary imagination with the city's historic, cartographic reality to understand what the representation of the city says about the author's perception of fiction and his literary legacy.
{"title":"Parisian Prowlers: Mapping Maldoror, Mervyn, and Lautréamont in Paris","authors":"Madeleine J. Wolf","doi":"10.1080/14787318.2020.1847011","DOIUrl":"https://doi.org/10.1080/14787318.2020.1847011","url":null,"abstract":"ABSTRACT This article focuses on the final 'chant' of Les Chants de Maldoror (1869) by the Comte de Lautréamont (Isidore Ducasse). In the enigmatic final scenes, Maldoror stalks and kills a young English man, Mervyn, in the streets of Paris. The murder is detailed in striking geographic detail, and Parisian monuments feature prominently in the young man's demise. Combining close readings with original maps of these final scenes, I compare the Paris of Lautréamont's literary imagination with the city's historic, cartographic reality to understand what the representation of the city says about the author's perception of fiction and his literary legacy.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"24 1","pages":"321 - 340"},"PeriodicalIF":0.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2020.1847011","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46362534","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 : 2020-07-02DOI: 10.1080/14787318.2020.1794695
C. Demeulenaere-Douyère
ABSTRACT Les grandes expositions du XIXe siècle ont d'abord été des «grands messes» du commerce et de l'industrie, vouées à magnifier les avancées de la technique moderne. Mais, rapidement, devant la pression des réalités économiques et la demande croissante du public, elles se sont aussi transformées en lieux de plaisirs et de divertissement. Les attractions s'y multiplient. Certaines sont pédagogiques, visant à vulgariser des sciences alors en développement, comme la Lune à un mètre (1900) ; d'autres sont simplement ludiques, cherchant surtout à étonner les visiteurs et à leur proposer un dépaysement spatio-temporel.
{"title":"De la Galerie des Machines à Luna Park : prendre du bon temps dans les expositions internationales parisiennes (1855–1900)","authors":"C. Demeulenaere-Douyère","doi":"10.1080/14787318.2020.1794695","DOIUrl":"https://doi.org/10.1080/14787318.2020.1794695","url":null,"abstract":"ABSTRACT Les grandes expositions du XIXe siècle ont d'abord été des «grands messes» du commerce et de l'industrie, vouées à magnifier les avancées de la technique moderne. Mais, rapidement, devant la pression des réalités économiques et la demande croissante du public, elles se sont aussi transformées en lieux de plaisirs et de divertissement. Les attractions s'y multiplient. Certaines sont pédagogiques, visant à vulgariser des sciences alors en développement, comme la Lune à un mètre (1900) ; d'autres sont simplement ludiques, cherchant surtout à étonner les visiteurs et à leur proposer un dépaysement spatio-temporel.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"24 1","pages":"123 - 145"},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2020.1794695","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45437959","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 : 2020-07-02DOI: 10.1080/14787318.2020.1794449
E. Emery
ABSTRACT Japanese exhibits filled the 1900 Paris Exposition, from the official pavilion at the Trocadéro to ‘geishas' performing in the Panorama du Tour du Monde. The highlight for French reporters, however, was actress Sada Yacco's performances at the Théâtre Loïe Fuller on the rue de Paris. The former geisha joined American Fuller in creating original spectacles that captivated audiences not as Japanese ‘ethnography', as in other exhibits, but as ‘art’. This article draws attention to the rhetorical and commercial strategies used by these women to attract audiences to their own unique artistic performances of Japonisme, Western creations inspired by Japanese traditions.
{"title":"Appropriating Japonisme at the 1900 Exposition: Sada Yacco, Loie Fuller, and the ‘Geishas’ of Le Panorama du Tour du Monde","authors":"E. Emery","doi":"10.1080/14787318.2020.1794449","DOIUrl":"https://doi.org/10.1080/14787318.2020.1794449","url":null,"abstract":"ABSTRACT Japanese exhibits filled the 1900 Paris Exposition, from the official pavilion at the Trocadéro to ‘geishas' performing in the Panorama du Tour du Monde. The highlight for French reporters, however, was actress Sada Yacco's performances at the Théâtre Loïe Fuller on the rue de Paris. The former geisha joined American Fuller in creating original spectacles that captivated audiences not as Japanese ‘ethnography', as in other exhibits, but as ‘art’. This article draws attention to the rhetorical and commercial strategies used by these women to attract audiences to their own unique artistic performances of Japonisme, Western creations inspired by Japanese traditions.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"24 1","pages":"221 - 244"},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2020.1794449","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45632974","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 : 2020-07-02DOI: 10.1080/14787318.2020.1794696
Van Troi Tran
ABSTRACT From 1855 to 1900, the Paris expositions gradually included an increasing number of commercial spots and venues operated by private companies and entrepreneurs. This article examines the emergence and development of these private concessions such as cafés, kiosks, shops and restaurants on the exhibitions grounds, and how they accompanied the rise of entertainment and mass culture in fin-de-siècle Paris. More specifically, it will address the organizational aspects and the logistics of these new sites of consumer culture in order to show how consumer capitalism was not just exhibited but also materially performed at the Paris universal expositions.
{"title":"Framing the Market at the Paris Universal Expositions","authors":"Van Troi Tran","doi":"10.1080/14787318.2020.1794696","DOIUrl":"https://doi.org/10.1080/14787318.2020.1794696","url":null,"abstract":"ABSTRACT From 1855 to 1900, the Paris expositions gradually included an increasing number of commercial spots and venues operated by private companies and entrepreneurs. This article examines the emergence and development of these private concessions such as cafés, kiosks, shops and restaurants on the exhibitions grounds, and how they accompanied the rise of entertainment and mass culture in fin-de-siècle Paris. More specifically, it will address the organizational aspects and the logistics of these new sites of consumer culture in order to show how consumer capitalism was not just exhibited but also materially performed at the Paris universal expositions.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"24 1","pages":"164 - 178"},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2020.1794696","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48284179","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 : 2020-07-02DOI: 10.1080/14787318.2020.1794451
P. Blanchard
Résumé Pendant un demi-siècle, Paris accueille le reste du monde et son Empire colonial dans plusieurs expositions universelles et coloniales. Cette mise en scène du monde, à travers des pavillons spécifiques et des présences « indigènes », attire des millions de visiteurs, fabrique un « certain regard » sur l' « Ailleurs » et l'altérité, tout en construisant le regard de la France sur le monde. Paris met aussi en scène des populations « exotiques » afin de divertir les Parisiens et les visiteurs et fabrique le regard de plusieurs générations de Français sur les populations dites « exotiques ».
{"title":"Les mondes coloniaux et exotiques dans les grandes expositions parisiennes. Un demi-siècle de présences (1855-1907)","authors":"P. Blanchard","doi":"10.1080/14787318.2020.1794451","DOIUrl":"https://doi.org/10.1080/14787318.2020.1794451","url":null,"abstract":"Résumé Pendant un demi-siècle, Paris accueille le reste du monde et son Empire colonial dans plusieurs expositions universelles et coloniales. Cette mise en scène du monde, à travers des pavillons spécifiques et des présences « indigènes », attire des millions de visiteurs, fabrique un « certain regard » sur l' « Ailleurs » et l'altérité, tout en construisant le regard de la France sur le monde. Paris met aussi en scène des populations « exotiques » afin de divertir les Parisiens et les visiteurs et fabrique le regard de plusieurs générations de Français sur les populations dites « exotiques ».","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"24 1","pages":"146 - 163"},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2020.1794451","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47806920","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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