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La représentation paradoxale du chemin de fer chez Dickens : fantastique et mythe au service d’une peinture de la modernité dans Dombey and Son (1848) et « No. 1 Branch Line. The Signal-Man » (1866) 狄更斯对铁路的矛盾表现:《Dombey and Son》(1848)和《No. 1 Branch Line》中为现代绘画服务的幻想和神话。《信号人》(1866)

4区文学

CAHIERS VICTORIENS & EDOUARDIENS Pub Date : 2010-06-18 DOI: 10.4000/CVE.2832

F. Dupeyron-Lafay

{"title":"La représentation paradoxale du chemin de fer chez Dickens : fantastique et mythe au service d’une peinture de la modernité dans Dombey and Son (1848) et « No. 1 Branch Line. The Signal-Man » (1866)","authors":"F. Dupeyron-Lafay","doi":"10.4000/CVE.2832","DOIUrl":"https://doi.org/10.4000/CVE.2832","url":null,"abstract":"With George Cruikshank’s famous engraving London Going out of Town. The March of Bricks and Mortar (1829), that gives a nightmare, fantastic image of the ravages of urbanization, we can notice the innovative resort to the Gothic to deal with modern phenomena, something as yet unprecedented in the arts, and a device that will also be used by Dickens in the 1850s and 60s to evoke the railway. However, this recourse to the Gothic represents a paradox as the Gothic is supposed to belong to the dark, distant, uncivilized medieval past and it is here used to describe the new living conditions of the industrial era, and the growth of technology. Somehow, it seems logical to resort to the linguistic and symbolic tools of the uncanny to represent new, unknown and destabilizing realities, as in « The Signal-Man ». But what appears more surprising and paradoxical is the use of archaic elements, such as myth, and teratological images—as in Dombey and Son—to depict modernity. The reason may lie in the fact that trains or factories, belching fumes and staining everything about them, were seen as dangerous, all-powerful, voracious monsters and that writers were powerless in front of such disturbing, unprecedented phenomena and had to fall back on familiar, reassuring narrative techniques to come to terms with them. Describing new facts of life with old tools—this is the central paradox and the essential originality of Dickens’s fiction on the railway.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2010-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84290617","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Brumes et brouillards de Bleak House à Heart of Darkness 《荒凉山庄:黑暗之心》中的布鲁和布鲁拉德

4区文学

CAHIERS VICTORIENS & EDOUARDIENS Pub Date : 2010-06-18 DOI: 10.4000/CVE.2838

Audrey Sabathier-Lepêtre

引用次数: 0

Sociétés chorales et renaissance de la musique anglaise, 1840-1910 合唱社团与英国音乐的复兴，1840-1910

4区文学

CAHIERS VICTORIENS & EDOUARDIENS Pub Date : 2010-06-18 DOI: 10.4000/CVE.3098

G. Couderc

{"title":"Sociétés chorales et renaissance de la musique anglaise, 1840-1910","authors":"G. Couderc","doi":"10.4000/CVE.3098","DOIUrl":"https://doi.org/10.4000/CVE.3098","url":null,"abstract":"The great English choral tradition as we know it today was born along with the Industrial Revolution with the development of choral societies like the oldest, the Halifax Choral Society in 1817, while the Birmingham Choral Society, founded in 1843, was to provide a chorus for the town’s Triennial Music Festival. Those societies were fostered so as to tame, civilise and educate the potentially unruly new unskilled labour force who manned “the dark Satanic mills” of the expanding northern industrial cities and to lead them away from drink or the profanities of the nascent music-halls. Their favourite repertoire was the English oratorios of Handel and Mendelssohn, a genre which flourished all century long in the wake of the great religious awakening of the late eighteenth century and provided English and foreign composers with work in an opera-shy kingdom. Various social reformers, like John Curwen of Tonic Sol-Fa fame, developed methods to teach the untrained choristers how to read music, thus permitting their exposure to high-brow culture, to which the policy of the music publisher Novello greatly contributed. Paradoxically, the Renaissance of English music in the late 19th century benefited from the craze for choral singing but also somehow triggered its demise when native composers, who had assimilated the lessons of their foreign competitors and raised their standards of composition, required more from their amateur choristers, gradually forced to give up in favour of professionals, increasing the gap between popular and high brow culture.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2010-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86222558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

« Between the heaven and man came the cloud » : John Ruskin et la représentation des états de la matière dans Modern Painters 《天与人之间的云》:约翰·罗斯金与现代画家对物质状态的表现

4区文学

CAHIERS VICTORIENS & EDOUARDIENS Pub Date : 2010-06-18 DOI: 10.4000/CVE.2853

Lawrence Gasquet

{"title":"« Between the heaven and man came the cloud » : John Ruskin et la représentation des états de la matière dans Modern Painters","authors":"Lawrence Gasquet","doi":"10.4000/CVE.2853","DOIUrl":"https://doi.org/10.4000/CVE.2853","url":null,"abstract":"The works of John Ruskin attempt to define the beauty of nature, so that man may be able to recreate it, to reprocess it through art and then access truth. Whether in the spheres of painting, architecture, or geology, Ruskin strives to guide the reader’s perception, and the four elements remain at the core of his thinking. What could be acknowledged as the representation of the various possible « states of matter », to use Ruskin’s expression in The Seven Lamps of Architecture, raises various questions : « Among the countless analogies by which the nature and relations of the human soul are illustrated in the material creation, none are more striking than the impressions inseparably connected with the active and dormant states of matter. I have elsewhere endeavoured to show, that no inconsiderable part of the essential characters of beauty depended on the expression of vital energy in organic things, or on the subjection to such energy, of things naturally passive and powerless » (The Seven Lamps of Architecture, London, George Allen, 1880, 1906, p. 271). In this article, I shall try to establish a synthesis of the representations of the four elements so as to determine the role they play in Ruskin’s aesthetics.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2010-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82089123","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

The mystery of those icy climes (Shelley 269): literature, science and early nineteenth-century Polar Exploration 冰天雪地的奥秘(雪莱269):文学、科学和19世纪早期的极地探险

4区文学

CAHIERS VICTORIENS & EDOUARDIENS Pub Date : 2010-06-18 DOI: 10.4000/CVE.2855

C. Lanone

引用次数: 1

La Westminster Review comme outil de transmission et de démocratisation de culture savante, 1824-1857 《威斯敏斯特评论》作为学术文化传播和民主化的工具，1824-1857年

4区文学

CAHIERS VICTORIENS & EDOUARDIENS Pub Date : 2010-06-18 DOI: 10.4000/cve.3089

Odile Boucher-Rivalain

{"title":"La Westminster Review comme outil de transmission et de démocratisation de culture savante, 1824-1857","authors":"Odile Boucher-Rivalain","doi":"10.4000/cve.3089","DOIUrl":"https://doi.org/10.4000/cve.3089","url":null,"abstract":"Among the quarterlies which marked the Romantic Age and the Victorian Age, The Westminster Review (1824-1900) stands out as the organ of radical opinions, committed to the diffusion of culture to all classes. Founded by Jeremy Bentham, it was meant to contribute to the transmission of culture among the middle class, including the lower middle-class. From 1836 until 1840, under the influence of the younger generation of Philosophic Radicals, with John Stuart Mill at their head, its literary influence rose sharply and with the merger of the London Review with the Westminster Review, a new period of its history began. Although the decade of the 1840s witnessed a concentration of the topics discussed on political and social questions rather than literature, its literary influence was felt again under the editorship of John Chapman and his assistant editor, Mary Ann Evans from 1852 to 1854. With her contribution to the Westminster Review ending in 1857 as a result of the start of George Eliot’s career as a novelist, the heyday of the review came to an end. Its influence in the early and mid-Victorian age came from its being the major Radical quarterly in existence, the voice of social progress whose goal was the extension of education to all classes and a far-reaching transmission of culture as an agent of moral improvement.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2010-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73409315","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

De Jane Eyre à Shirley: une représentation des éléments transformée par les bouleversements sociaux? 从简·爱到雪莉:社会动荡改变了元素的表现?

4区文学

CAHIERS VICTORIENS & EDOUARDIENS Pub Date : 2010-06-18 DOI: 10.4000/CVE.2836

É. Ouvrard

{"title":"De Jane Eyre à Shirley: une représentation des éléments transformée par les bouleversements sociaux?","authors":"É. Ouvrard","doi":"10.4000/CVE.2836","DOIUrl":"https://doi.org/10.4000/CVE.2836","url":null,"abstract":"When she wrote Shirley, Charlotte Bronte was inspired by the Luddite riots which took place in the West Riding of Yorkshire in 1812. Contrary to her preceding novel Jane Eyre (1847) in which Thornfield is a few miles away from the large manufacturing town Millcote, Shirley (1849) insists on the social changes linked to the Industrial Revolution. The representation of the four elements in Shirley is thus quite different from the one David Lodge analysed in Jane Eyre (« Fire and Eyre : Charlotte Bronte’s War of Earthly Elements »). The passionate and purifying fire which characterizes Jane Eyre becomes endowed with a social dimension : it reduces to ashes many factories, such as the one Sykes owns for instance (« his dressing-shop was set on fire and burnt to the ground ») ; fire is associated to revolt, hatred but also death since gunshots can be heard several times. Besides the industrial background has consequences on the water and above all on the air which is polluted by the factories and their chimneys (« Stilbro’ smoke atmosphere ») ; Robert Moore easily puts up with this tainted atmosphere, however it is quite revealing that Caroline finds it hard to breathe (« complained of want of air »). In spite of the major changes, the representation of the four elements in Shirley bears a likeness to that in Jane Eyre as can be observed with the description of some characters and of their emotions although the stress on the opposition between fire and ice is less striking. One can even wonder whether Shirley does not express some nostalgia for the preindustrial nature that is depicted in Jane Eyre, as the description of Fieldhead Hollow fifty years ago seems to imply in the last chapter of the novel.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2010-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86997783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

« I am content with tentativeness from day to day » : Thomas Hardy et le parti pris poétique du tâtonnement “我满足于日复一日的试探性”——托马斯·哈代和他的同伴们

4区文学

CAHIERS VICTORIENS & EDOUARDIENS Pub Date : 2010-06-18 DOI: 10.4000/CVE.3104

Laurence Estanove

引用次数: 0

Pater and Contemporary Visual Art 佩特与当代视觉艺术

4区文学

CAHIERS VICTORIENS & EDOUARDIENS Pub Date : 2010-01-01 DOI: 10.1057/9780230281431_3

J. Bullen

引用次数: 3

Newman polémiste et satiriste 纽曼辩论家和讽刺家

4区文学

CAHIERS VICTORIENS & EDOUARDIENS Pub Date : 2009-12-31 DOI: 10.4000/CVE.4766

K. Beaumont

引用次数: 0