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":"24 1","pages":"203 - 220"},"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: 10.1080/14787318.2020.1794448
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":"24 1","pages":"245 - 259"},"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":"24 1","pages":"260 - 267"},"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。
{"title":"Obscure Visions: The 1867 Aquarium and Its Literary Legacy","authors":"Kathryn A. Haklin","doi":"10.1080/14787318.2020.1794446","DOIUrl":"https://doi.org/10.1080/14787318.2020.1794446","url":null,"abstract":"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.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"24 1","pages":"179 - 202"},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2020.1794446","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48556183","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 : 2020-05-27DOI: 10.1080/14787318.2020.1770396
Mathew Rickard
ABSTRACT Many have struggled to argued whether Rachilde reverses gender binaries or reinforces them by ensuring the continuation of active and passive partners within the narrative of Monsieur Vénus. However, both foundational and recent turns in queer theory regarding heterosexuality present gender non-conformity as a result of a fluidity of gender performance, rather than one based on an opposing binary. This article deals with Rachilde’s ambiguous approach to gender, by focusing on different moulds of masculinity. I take a step back from critical approaches which necessarily read her oeuvre in the light of the gender binary, and ‘requeer’ her work by presenting the ‘norm’ of heterosexuality in a non-normative light.
{"title":"‘Ça n’empêche pas d’être un homme’: Requeering Masculinity in Rachilde’s Monsieur Vénus (1884)","authors":"Mathew Rickard","doi":"10.1080/14787318.2020.1770396","DOIUrl":"https://doi.org/10.1080/14787318.2020.1770396","url":null,"abstract":"ABSTRACT Many have struggled to argued whether Rachilde reverses gender binaries or reinforces them by ensuring the continuation of active and passive partners within the narrative of Monsieur Vénus. However, both foundational and recent turns in queer theory regarding heterosexuality present gender non-conformity as a result of a fluidity of gender performance, rather than one based on an opposing binary. This article deals with Rachilde’s ambiguous approach to gender, by focusing on different moulds of masculinity. I take a step back from critical approaches which necessarily read her oeuvre in the light of the gender binary, and ‘requeer’ her work by presenting the ‘norm’ of heterosexuality in a non-normative light.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"24 1","pages":"269 - 283"},"PeriodicalIF":0.1,"publicationDate":"2020-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2020.1770396","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45290918","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 : 2020-01-02DOI: 10.1080/14787318.2019.1667686
F. Moore
ABSTRACT The Histoire pittoresque, dramatique et caricaturale de la Sainte Russie (1854) by Gustave Doré (1832–83) is unique in the history of nineteenth-century European graphic art and an exceptional project within Doré's artistic career. Illustrated with 500 wood engravings, it narrates the history of Russia from its origins to the contemporary Crimean war. This article examines the volume as a tour de force of technological innovation and graphic rhetoric that confronts the challenge of how to represent war and its violence. To appeal to a broad audience, the artist pioneered a caricatural, graphic sequential history that anticipates modern bande dessinée tackling twentieth-century warfare.
{"title":"Gustave Doré’s Histoire de la Sainte Russie (1854): The Invention of Graphic Rhetoric, or the Artist at War","authors":"F. Moore","doi":"10.1080/14787318.2019.1667686","DOIUrl":"https://doi.org/10.1080/14787318.2019.1667686","url":null,"abstract":"ABSTRACT The Histoire pittoresque, dramatique et caricaturale de la Sainte Russie (1854) by Gustave Doré (1832–83) is unique in the history of nineteenth-century European graphic art and an exceptional project within Doré's artistic career. Illustrated with 500 wood engravings, it narrates the history of Russia from its origins to the contemporary Crimean war. This article examines the volume as a tour de force of technological innovation and graphic rhetoric that confronts the challenge of how to represent war and its violence. To appeal to a broad audience, the artist pioneered a caricatural, graphic sequential history that anticipates modern bande dessinée tackling twentieth-century warfare.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"24 1","pages":"17 - 53"},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2019.1667686","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45358098","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 : 2020-01-02DOI: 10.1080/14787318.2020.1719334
Martine Mees
ABSTRACT This article aims to follow in the footsteps of French ecocriticism, while creating a double shift in its point of view: firstly, by questioning the work of the romantic writer Gérard de Nerval, who has never truly been studied through the prism of ecopoetry. Secondly, by proposing a resolutely transdisciplinary analysis at the crossroads of literature and philosophy. This study highlights the modernity of Nerval’s metaphysical conceptions of Nature but also how the poem ‘Vers dorés’ may become the manifesto of a poetic ecology through its performativity and its mobilisation of the figure of ruin.
{"title":"The Romantic Basis of a Poetic Ecology in Nerval’s ‘Vers dorés’","authors":"Martine Mees","doi":"10.1080/14787318.2020.1719334","DOIUrl":"https://doi.org/10.1080/14787318.2020.1719334","url":null,"abstract":"ABSTRACT This article aims to follow in the footsteps of French ecocriticism, while creating a double shift in its point of view: firstly, by questioning the work of the romantic writer Gérard de Nerval, who has never truly been studied through the prism of ecopoetry. Secondly, by proposing a resolutely transdisciplinary analysis at the crossroads of literature and philosophy. This study highlights the modernity of Nerval’s metaphysical conceptions of Nature but also how the poem ‘Vers dorés’ may become the manifesto of a poetic ecology through its performativity and its mobilisation of the figure of ruin.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"24 1","pages":"69 - 81"},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2020.1719334","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43864220","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 : 2020-01-02DOI: 10.1080/14787318.2019.1679516
P. Prasad
ABSTRACT This article studies the coverage of a racially motivated political trial in 1830s Île Bourbon (present-day Reunion Island) in the Parisian periodical Revue des colonies. I argue that in its otherwise astute defense of the mixed-race defendant Louis-Timagène Houat, the periodical's editors exhibit an Atlantic bias, ignoring insular concerns, such as the relationships among Île Bourbon's diverse castes and classes. This case study serves as a litmus test of the pitfalls of enlisting Atlantic frameworks when approaching the colonial Indian Ocean. Instead, we may look at nineteenth-century Indian Ocean literature to provide methodological direction in the study of the region.
{"title":"Colour and Conflict in Nineteenth-Century Île Bourbon: the Case of the Affaire Houat","authors":"P. Prasad","doi":"10.1080/14787318.2019.1679516","DOIUrl":"https://doi.org/10.1080/14787318.2019.1679516","url":null,"abstract":"ABSTRACT This article studies the coverage of a racially motivated political trial in 1830s Île Bourbon (present-day Reunion Island) in the Parisian periodical Revue des colonies. I argue that in its otherwise astute defense of the mixed-race defendant Louis-Timagène Houat, the periodical's editors exhibit an Atlantic bias, ignoring insular concerns, such as the relationships among Île Bourbon's diverse castes and classes. This case study serves as a litmus test of the pitfalls of enlisting Atlantic frameworks when approaching the colonial Indian Ocean. Instead, we may look at nineteenth-century Indian Ocean literature to provide methodological direction in the study of the region.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"24 1","pages":"1 - 16"},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2019.1679516","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47622952","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 : 2020-01-02DOI: 10.1080/14787318.2019.1699694
Biliana Kassabova
ABSTRACT Published following the Franco-Prussian War and the Paris Commune, George Sand's 1872 novel Nanon is written as the 1850 memoirs of a peasant woman who had lived through the French Revolution. Focusing on the temporal shifts of the novel, I argue that by considering the temporalities of Nanon in conjunction with spatial movements, we can see Sand's refusal to think about the Revolution as a rupture in history. In the novel, the Frenchmen of the urban revolution are substituted with peasants who can reach back into the Celtic origins of France and construct a more peaceful French society.
{"title":"Frenchmen Into Peasants Into Frenchmen: Revolutionary Past and Future in George Sand’s Nanon","authors":"Biliana Kassabova","doi":"10.1080/14787318.2019.1699694","DOIUrl":"https://doi.org/10.1080/14787318.2019.1699694","url":null,"abstract":"ABSTRACT Published following the Franco-Prussian War and the Paris Commune, George Sand's 1872 novel Nanon is written as the 1850 memoirs of a peasant woman who had lived through the French Revolution. Focusing on the temporal shifts of the novel, I argue that by considering the temporalities of Nanon in conjunction with spatial movements, we can see Sand's refusal to think about the Revolution as a rupture in history. In the novel, the Frenchmen of the urban revolution are substituted with peasants who can reach back into the Celtic origins of France and construct a more peaceful French society.","PeriodicalId":53818,"journal":{"name":"Dix-Neuf","volume":"24 1","pages":"113 - 99"},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14787318.2019.1699694","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45450372","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：