Cahiers victoriens et édouardiens最新文献_第7页

Jenny Lind. Of Echoes and Traces 珍妮林德。回声与痕迹

Cahiers victoriens et édouardiens Pub Date : 2021-10-01 DOI: 10.4000/cve.10190

A. Harley, Andrea Zittlau

引用次数: 0

Alexis Easley, Clare Hill, and Beth Rogers (eds), Women, Periodicals, and Print Culture in the Victorian Period, 亚历克西斯·伊斯利，克莱尔·希尔和贝丝·罗杰斯(编)，维多利亚时期的妇女，期刊和印刷文化，

Cahiers victoriens et édouardiens Pub Date : 2021-10-01 DOI: 10.4000/cve.10040

B. Coste

引用次数: 0

The Roaring Streets: Dickensian London in the Pages of Virginia Woolf 喧嚣的街道:弗吉尼亚·伍尔夫笔下的狄更斯式伦敦

Cahiers victoriens et édouardiens Pub Date : 2021-10-01 DOI: 10.4000/cve.9870

F. Orestano

引用次数: 0

Masonic Ritual and the Display of Empire in 19th-Century India and Beyond 19世纪印度及以后的共济会仪式和帝国的展示

Cahiers victoriens et édouardiens Pub Date : 2021-06-01 DOI: 10.4000/cve.8990

Simon Deschamps

引用次数: 0

The Egyptian Museum in Fiction: The Mummy’s Eyes as the ‘Black Mirror’ of the Empire 小说中的埃及博物馆:木乃伊的眼睛是帝国的“黑镜”

Cahiers victoriens et édouardiens Pub Date : 2021-06-01 DOI: 10.4000/cve.8779

Nolwenn Corriou

{"title":"The Egyptian Museum in Fiction: The Mummy’s Eyes as the ‘Black Mirror’ of the Empire","authors":"Nolwenn Corriou","doi":"10.4000/cve.8779","DOIUrl":"https://doi.org/10.4000/cve.8779","url":null,"abstract":"This article considers the way the late nineteenth-century genre of mummy fiction represents the exhibition of Egyptian mummies in the space of private or public museums. In the context of the constitution of the ‘imperial archive’ (Thomas Richards), the museum plays a substantial role and the interactions between the archaeologist or museum visitor and the mummy in fiction can be interpreted in imperial terms, archaeological processes of excavation, classification and exhibition mirroring imperial dynamics. The motif of the gaze in particular gives us an insight into Victorian and Edwardian notions of knowledge and its links with imperial domination at the turn of the century. In texts such as Bram Stoker’s The Jewel of Seven Stars (1903) and Henry Rider Haggard’s ‘Smith and the Pharaohs’ (1913), the scientific and aesthetising gaze of the archaeologist is challenged by the eyes of the mummy who, in turn, gazes at the museum visitor and thus defeats the imperial order of the museum. My contention is that the showcasing of mummies in these two texts leads to a critique of imperialism as the mummy’s gaze, by offering a mirror image to the museum visitor, can mediate imperial anxieties and put on display the repressed parts of the imperial psyche.","PeriodicalId":242548,"journal":{"name":"Cahiers victoriens et édouardiens","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114360230","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Gertrude Tennant. Mes souvenirs sur Hugo et Flaubert Gertrude Tennant)。我对雨果和福楼拜的回忆

Cahiers victoriens et édouardiens Pub Date : 2021-06-01 DOI: 10.4000/cve.9290

Stéphanie Dord-Crouslé

引用次数: 0

Empire Seen from Within. Cinema Objects, Spaces and Edifices in the Limelight in Colonial India and Ceylon (1899-1950) 从内部看帝国。殖民时期印度和锡兰引人注目的电影对象、空间和建筑(1899-1950)

Cahiers victoriens et édouardiens Pub Date : 2021-06-01 DOI: 10.4000/cve.9040

Vilasnee Tampoe-Hautin

{"title":"Empire Seen from Within. Cinema Objects, Spaces and Edifices in the Limelight in Colonial India and Ceylon (1899-1950)","authors":"Vilasnee Tampoe-Hautin","doi":"10.4000/cve.9040","DOIUrl":"https://doi.org/10.4000/cve.9040","url":null,"abstract":"Les recherches sur la culture materielle se sont fortement focalisees sur les objets du quotidien comme moyen d’observer les societes et de comprendre notre passe. Ce n’est que recemment que les chercheurs de ce champ d’etudes se sont penches sur les objets lies au cinema, l’une des formes de divertissement les plus faciles d’acces (MacKenzie 2), produite par le genie des inventeurs de la fin du xixe siecle comme Edison, Urban ou les Lumiere. Et pourtant, il n’y a pas de lieu plus pertinent pour inclure le materiel conventionnel du cinema dans la recherche scientifique, etant donne que des ses debuts le cinema, en tant qu’art, mais egalement sous sa forme industrielle, s’est accompagne d’une vaste panoplie de dispositifs optiques, audio et mecaniques. De plus, ce sont les Victoriens et les Edouardiens qui nous ont legue les premiers objets, bâtiments et espaces du cinema, ajouts precieux a la richesse iconique et materielle de cette epoque. On peut elargir le cadre de la recherche lorsque l’on observe la maniere dont les innovations technologiques en Europe, et en tout premier lieu la photographie, puis l’animation pure ainsi que l’impression et la reproduction d’images fixes ou en mouvement, ont grandement contribue a la promotion de l’Empire au sein de l’Empire, dans ce que Michel Foucault a qualifie de ‘frenesie neuve des images’ fin de siecle (Catalogue de l’exposition Gerard Fromanger ‘Le desir est partout’, 1975, Leutrat). Je souhaite m’aventurer sur cette voie moins exploree dans ce qui sera aussi une perspective inversee. Je me propose de considerer la maniere dont les habitants des colonies britanniques dans l’Ocean indien (en particulier le Sri Lanka et l’Inde), a la fois autochtones et expatries, ont investi l’objet cinematographique, mais egalement ses sites et ses bâtiments (auditoriums et studios) qui, de leur architecture jusqu’a leur interieur, ont aussi rendu hommage a la splendeur de l’Empire. Comment les objets, le materiel et les sites ont-ils reussi a octroyer au bioscope un marche captif aussi important dans tous les coins et recoins de l’empire britannique, et comment ont-ils pu ameliorer ou influencer la perception de l’empire par les colonises? Je compte m’attacher a ces rencontres trans-culturelles plus fortuites entre des objets, des idees et des personnes qui ont converge pour apporter le cinema aux confins de l’empire ; une tente de la Premiere Guerre mondiale, un projecteur, un fusil et un gramophone charges sur un chariot tire par des bœufs, voyageant a travers la jungle du Ceylan colonial, rappelant les romans meconus de Leonard Woolf… Finalement, bien que cela depasse le cadre de ce volume, il s’agira aussi de soulever la question de la restauration de ces objets, capables de produire une qualite d’image inegalee par la technologie numerique. L’industrie cinematographique, bien implantee en Asie du sud, avec ses taux eleves de frequentation, grâce a, mais pas exclusivement, l’immense industrie du cinema indienne, ","PeriodicalId":242548,"journal":{"name":"Cahiers victoriens et édouardiens","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121227344","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

The Empire of Beasts Then and Now: Political Cartoons and New Trends in Victorian Animal Studies 野兽帝国的过去和现在:政治漫画和维多利亚动物研究的新趋势

Cahiers victoriens et édouardiens Pub Date : 2021-06-01 DOI: 10.4000/cve.8989

Irina Kantarbaeva-Bill

{"title":"The Empire of Beasts Then and Now: Political Cartoons and New Trends in Victorian Animal Studies","authors":"Irina Kantarbaeva-Bill","doi":"10.4000/cve.8989","DOIUrl":"https://doi.org/10.4000/cve.8989","url":null,"abstract":"Victorians were obsessed with animals and used them pervasively in fiction and press as proxies for human races. This article attempts to analyse the animal display as a political commentary in the visual images of Punch or The London Charivari Magazine in the aftermath of the 1857 Mutiny and the growing geopolitical tensions worldwide. In exhibiting and displaying such animals as the lion, the tiger, the crocodile and the bear while dealing with colonial issues, the popular British cartoons acted as complex rhetorical structures that helped to powerfully influence mass opinion and consequently harnessed the public support for the Empire. Non-human animals were not just used for rhetorical purposes: beasts provided their very bodies to fund and fuel imperial projects, carried administrators and armies across and into remote spaces, and instilled fear and fascination in colonized and colonizers alike. While the scholarship recounting this relationship is not new, recent studies built on pioneering environmental and cultural histories (re)introduced many of the salient topics related to the showcasing of animals and imperialism such as conquest, disease, breeding, scientiﬁc categorization, animal welfare, vivisection, zoos, hunting, and conservation.","PeriodicalId":242548,"journal":{"name":"Cahiers victoriens et édouardiens","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133844862","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Showcasing Emptiness? Voicing Redemption Through ‘Saharomania’ in the French Literary Imaginary 展示空虚吗?通过法国文学想象中的“撒哈拉沙漠”表达救赎

Cahiers victoriens et édouardiens Pub Date : 2021-06-01 DOI: 10.4000/cve.8859

Amina Zarzi

{"title":"Showcasing Emptiness? Voicing Redemption Through ‘Saharomania’ in the French Literary Imaginary","authors":"Amina Zarzi","doi":"10.4000/cve.8859","DOIUrl":"https://doi.org/10.4000/cve.8859","url":null,"abstract":"The Napoleonic campaigns paved the way for French metropolitan travellers, military officers and literary authors to roam the barren stretches of North African deserts. Initially, imperial expansion was what brought French explorers to these lands. As devoted adventurers, they were quick to predict the literary opportunities of showcasing emptiness in military, scientific and literary projections. At once empty and loaded with spiritual charge, the desert embodies the essence of mystical connotations, for those who master decrypting its unsettling silence. This article argues that this seemingly empty space is in fact the cradle of spiritual pursuits, deployed in Sebe’s ‘Saharomania’ concept as a redemptive locus. Showcasing emptiness thus represented a challenge to the spread of the cult of Western materialism. This is illustrated in two ways: the vision of French authors (Saint-Exupery, Ernest Psichari, Charles de Foucauld, and Eric-Emmanuel Schmitt) who, taken together, amount to the establishment of a French desert genealogy of ‘Saharomania’, and the ways in which it offers a different reading of the accompanying Orientalist understanding of such works, through the prism of the redemptive wisdom of the desert. While taking part in Said’s Western canon on the Orient, redemptive ‘Saharomania’ also participates in the wider definition of the ways in which the imaginary of emptiness fuelled the fin-de-siecle cult of the void. It is in light of the alterity of the desert that the concept of ‘Saharomania’, specific to France, can be read: because showcasing emptiness meant empowerment, the success of the inscription of bareness in the imaginary of the French metropolitan public, and also its literary inheritance, was necessary to celebrate the French national sentiment. Taking the demanding crossing of the desert to heart, often for nationalist pursuits, was necessary to triumph over the physically and mentally exhausting desert. However, this article argues, authors incline when faced with the grandeur of the Sahara Desert, and its emblematic nomad dwellers, amidst the journey of the conventional fate of loss in the sands, ultimately changing the initial motives of the crossing. Thus, rather than condemning the present French literary productions within the confines of the orientalist and exotic tropes, this article offers different but no less significant interrogations about how ‘Saharomania’ valorises the desert as a locus of the higher forms of humankind, particularly defying the cult of Western hollowness through articulating spiritual resonance in the realm of the void.","PeriodicalId":242548,"journal":{"name":"Cahiers victoriens et édouardiens","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134503582","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Ambivalent Representation of the Orient in T. E. Lawrence’s Seven Pillars of Wisdom: A Triumph (1935) t.e.劳伦斯《智慧的七根支柱:胜利》(1935)中对东方的矛盾表现

Cahiers victoriens et édouardiens Pub Date : 2021-06-01 DOI: 10.4000/cve.8823

Sonia Lamrani

{"title":"The Ambivalent Representation of the Orient in T. E. Lawrence’s Seven Pillars of Wisdom: A Triumph (1935)","authors":"Sonia Lamrani","doi":"10.4000/cve.8823","DOIUrl":"https://doi.org/10.4000/cve.8823","url":null,"abstract":"The literary output that was produced during the rise of the British Empire often reflected the imperialist spirit that dominated the world at that time. Travel writing was one of the major fields which prospered in parallel with the spread of British global paramountcy. This literary genre contributed to strengthening and legitimising the imperialist and colonialist expansion and therefore represents one of the prominent samples for the postcolonial analytical framework. This paper will focus on one of these travel accounts, Seven Pillars of Wisdom: A Triumph (1935), written by Thomas Edward Lawrence also known as ‘Lawrence of Arabia’. Drawing upon postcolonial literary criticism, this paper will show the way Lawrence simultaneously reaffirms and rejects the imperialist and colonialist discourse in his portrayals. This paper will shed light on the ambivalence which prevails in Lawrence’s representations of the Orient. On the one hand, this research shows the way Lawrence showcases examples of imperialist thinking by reproducing stereotypical representations of the Orient through excessive aestheticisation or demeaning of Oriental people and landscapes. On the other hand, this paper highlights Lawrence’s departure from the conventional imperialist discourse with more nuanced portrayals. This paper contends that Lawrence’s Orientalist discourse is much more ambivalent and subtle than the conclusions elaborated by Edward Said in his critical theory of Orientalism.","PeriodicalId":242548,"journal":{"name":"Cahiers victoriens et édouardiens","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122241399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0