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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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: 10.1080/14787318.2020.1794447
Caroline Grubbs
ABSTRACT In 1900, two spectacles of technological progress, artistic invention, and political ambition were unveiled in Paris: The universal exposition and Line 1 of the Paris Métro. This essay considers schemes for underground and elevated Métro systems that were published from 1870 to 1900 and argues that these speculative designs map new configurations of technology, urban space, and cultural identity onto fin-de-siècle Paris. Ultimately, Métro projects function as showcases of the modern city, and they draw on and participate in the promotional logic and narrative of national pride on display at the contemporary expositions.
{"title":"Terminus 1900: The Métro and the Universal Expositions in Fin-de-siècle Paris","authors":"Caroline Grubbs","doi":"10.1080/14787318.2020.1794447","DOIUrl":"https://doi.org/10.1080/14787318.2020.1794447","url":null,"abstract":"ABSTRACT In 1900, two spectacles of technological progress, artistic invention, and political ambition were unveiled in Paris: The universal exposition and Line 1 of the Paris Métro. This essay considers schemes for underground and elevated Métro systems that were published from 1870 to 1900 and argues that these speculative designs map new configurations of technology, urban space, and cultural identity onto fin-de-siècle Paris. Ultimately, Métro projects function as showcases of the modern city, and they draw on and participate in the promotional logic and narrative of national pride on display at the contemporary expositions.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2020.1794447","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49253354","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":null,"pages":null},"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}
Pub Date : 2020-07-02DOI: 10.1080/14787318.2020.1794448
S. Pappas
ABSTRACT My article discusses how the universal exposition is displayed in the Petit Palais museum in Paris. The Petit Palais' articulation of its own relationship to the Exposition of 1900 raises important questions about whether or not the full and complex history of the exposition can be on display in the same space reserved for national pride and mass tourism. Through a reading of the permanent installation at the Petit Palais, I examine what the universal exposition reveals about grappling with legacy.
{"title":"Fragments of the Past: The Petit Palais, the Exposition Universelle, and the Ghosts of French Imperialism","authors":"S. Pappas","doi":"10.1080/14787318.2020.1794448","DOIUrl":"https://doi.org/10.1080/14787318.2020.1794448","url":null,"abstract":"ABSTRACT My article discusses how the universal exposition is displayed in the Petit Palais museum in Paris. The Petit Palais' articulation of its own relationship to the Exposition of 1900 raises important questions about whether or not the full and complex history of the exposition can be on display in the same space reserved for national pride and mass tourism. Through a reading of the permanent installation at the Petit Palais, I examine what the universal exposition reveals about grappling with legacy.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2020.1794448","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44489622","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: 10.1080/14787318.2020.1794452
Peter S. Soppelsa
ABSTRACT This essay comments on the articles collected for this special issue about international expositions in France. It finds four major themes for new directions in exposition studies. First is the long literary and cultural shadow of expositions, or the shifting timescales that gave these temporary events lasting legacies. Second are the (often unintended) concrete consequences and costs for host cities of expositions understood as mega-events and mega-projects. Third is the inverse or obverse of ‘display’, those things that expositions conceal or hide. Fourth are the ways that expositions shaped and were shaped by the world beyond their gates.
{"title":"Universal Expositions: Behind the Scenes and Beyond the Fairgrounds (Response Essay)","authors":"Peter S. Soppelsa","doi":"10.1080/14787318.2020.1794452","DOIUrl":"https://doi.org/10.1080/14787318.2020.1794452","url":null,"abstract":"ABSTRACT This essay comments on the articles collected for this special issue about international expositions in France. It finds four major themes for new directions in exposition studies. First is the long literary and cultural shadow of expositions, or the shifting timescales that gave these temporary events lasting legacies. Second are the (often unintended) concrete consequences and costs for host cities of expositions understood as mega-events and mega-projects. Third is the inverse or obverse of ‘display’, those things that expositions conceal or hide. Fourth are the ways that expositions shaped and were shaped by the world beyond their gates.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2020.1794452","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43355771","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: 10.1080/14787318.2020.1794446
Kathryn A. Haklin
ABSTRACT The aquarium constructed for the 1867 Exposition captivated nineteenth-century attendees through its unprecedented design uniting two spatial imaginaries exploited by writers and explorers alike: the underground and the underwater. This article will consider the legacy of the 1867 aquarium through a dual approach. First, after evaluating accounts of the spectacle from guides to the fair, I will demonstrate how this unconventional space introduced new modes of vision by creating an immersive experience of the underwater world. In a second step, I will analyze excerpts from Victor Hugo’s Les Travailleurs de la mer (1866) and Jules Verne’s Vingt mille lieues sous les mers (1870) to elucidate the aquarium’s connection to novelistic representations of underwater space. The essay will argue that Hugo’s sea epic initiated a new visual paradigm relying on spatial enclosure, a perception that finds an echo in the spectatorial perspective generated by the 1867 aquarium. In tracing out the interrelations between the hybrid space of the aquarium and literature of the era, this article foregrounds the reciprocal impact of public spectacle and literary description, in addition to the intricate ways in which exhibitions at the 1867 Exposition joined entertainment and technology, science, and architecture.
摘要为1867年世博会建造的水族馆以其前所未有的设计吸引了19世纪的与会者，它将作家和探险家们利用的两种空间想象结合在一起：地下和水下。本文将通过双重方法来考虑1867年水族馆的遗产。首先，在评估了博览会导游对这一奇观的描述后，我将展示这个非传统的空间是如何通过创造水下世界的沉浸式体验引入新的视觉模式的。在第二步中，我将分析维克多·雨果（Victor Hugo）的《悲惨世界》（Les Travailleurs de la mer，1866年）和儒勒·凡尔纳（Jules Verne）的《美丽的海洋》（Vingt mille lieues sous Les mers，1870年）的节选，以阐明水族馆与水下空间小说的联系。这篇文章将认为，雨果的海洋史诗开创了一种依赖于空间封闭的新视觉范式，这种感知在1867年水族馆产生的壮观视角中找到了回声。在追溯水族馆和那个时代文学的混合空间之间的相互关系时，除了1867年博览会上的展览将娱乐与技术、科学和建筑结合在一起的复杂方式外，本文还强调了公共景观和文学描述的相互影响。
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