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The Initial Expression is the Final Impression: The First Sentence of Baudelaire's "Le Peintre de la vie moderne" 最初的表达是最终的印象——波德莱尔《现代生活》的第一句话
IF 0.2 3区 文学
NINETEENTH-CENTURY FRENCH STUDIES Pub Date : 2023-11-16 DOI: 10.1353/ncf.2023.a911800
Hammam Aldouri
{"title":"The Initial Expression is the Final Impression: The First Sentence of Baudelaire's \"Le Peintre de la vie moderne\"","authors":"Hammam Aldouri","doi":"10.1353/ncf.2023.a911800","DOIUrl":"https://doi.org/10.1353/ncf.2023.a911800","url":null,"abstract":"<p><p>Abstract:</p><p>In his \"Études sur Poe,\" Charles Baudelaire makes the following provocative remark: \"Si la première phrase n'est pas écrite en vue de préparer cette impression finale, l'œuvre est manquée dès le début.\" This essay seeks to disinter the dialectical contradictory logic at the core of this sentence—its identification of first and final in the work of art—by submitting the injunction contained within it to Baudelaire's own work. Attending to three underexplored elements of the first sentence of \"Le Peintre de la vie moderne,\" I claim that the 1863 text provides us with the paradigmatic example of Baudelaire's response to the injunction. The first sentence is replete with an entanglement of unresolvable contradictions that are constitutive of the forms of perception, experience, and subjectivation immanent to modern life. The \"impression finale\" of the work is that it extends this entanglement of contradictions to the level of a general systemic operation of irony. What the exaggerated, anatomical analysis to the opening sentence will show is that at the center of the text is the attempt to give sense to the possibility of holding fast to the experience of modern life as an experience in a constant state of disappearance that plays out at the level of form.</p></p>","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"14 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138538630","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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
Le discours médiatique transatlantique avant 1900: L'exemple de la première tournée de Sarah Bernhardt en Amérique 1900年前的跨大西洋媒体话语:莎拉·伯恩哈特第一次美国之行的例子
IF 0.2 3区 文学
NINETEENTH-CENTURY FRENCH STUDIES Pub Date : 2023-11-16 DOI: 10.1353/ncf.2023.a911803
Corina Sandu
{"title":"Le discours médiatique transatlantique avant 1900: L'exemple de la première tournée de Sarah Bernhardt en Amérique","authors":"Corina Sandu","doi":"10.1353/ncf.2023.a911803","DOIUrl":"https://doi.org/10.1353/ncf.2023.a911803","url":null,"abstract":"<p><p>Abstract:</p><p>Sarah Bernhardt's first American tour (1880–81) is one of the most publicized cultural events in France and the United States. The controversial actress's performances are commented at length by the Parisian press and the American newspapers, as well as the account of the actress Marie Colombier, fragments of which appear in the press. In my study of this vast corpus of publications from a discourse analysis perspective, I focus on the transatlantic media discourse: a specific discourse based on socio-cultural stereotypes, highlighting new relationships and commonalities in the French and American media systems. While emphasizing the impact of the concepts of distance and circulation on transatlantic media discourse and its enunciators, this article will also point out the similarities between this particular discourse and that of the French colonial press at the end of the nineteenth century. (In French)</p></p>","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"14 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138538645","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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
Conceptualizing Trajectories of Readability 概念化可读性的轨迹
IF 0.2 3区 文学
NINETEENTH-CENTURY FRENCH STUDIES Pub Date : 2023-11-16 DOI: 10.1353/ncf.2023.a911797
Michael Lucey
{"title":"Conceptualizing Trajectories of Readability","authors":"Michael Lucey","doi":"10.1353/ncf.2023.a911797","DOIUrl":"https://doi.org/10.1353/ncf.2023.a911797","url":null,"abstract":"<p><p>Abstract:</p><p>In an essay on \"Phenomenological Aesthetics,\" the philosopher Roman Ingarden asserted that \"works of art have the right to expect to be properly apprehended by observers who are in communion with them and to have their special value justly treated\" (269). What does it mean to \"properly apprehend\" a novel? How do we know how to read something \"justly\"? What would it mean to claim that something has become \"unreadable\"? Can books somehow show us how they want to be read? Can lost forms of intelligibility and appreciation be recovered? How do we know whether the way we are reading a book is the way it asks to be read or is the product of our own, differently structured habitus? In this article, I ask these kinds of questions about novels by Sand, Gautier, and a few others with the help of Ingarden and Bourdieu as well as some recent critics.</p></p>","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"41 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138538629","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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
"Confidences épistolaires de la Vénus publique": Real-time Communication, Voyeuristic Reading, and Social Media's Erotic Pre-History in the Petite Correspondance 《公开的个人信息》:实时交流、窥淫阅读和社交媒体在娇小通信中的情色史
IF 0.2 3区 文学
NINETEENTH-CENTURY FRENCH STUDIES Pub Date : 2023-11-16 DOI: 10.1353/ncf.2023.a911801
Hannah Frydman
{"title":"\"Confidences épistolaires de la Vénus publique\": Real-time Communication, Voyeuristic Reading, and Social Media's Erotic Pre-History in the Petite Correspondance","authors":"Hannah Frydman","doi":"10.1353/ncf.2023.a911801","DOIUrl":"https://doi.org/10.1353/ncf.2023.a911801","url":null,"abstract":"<p><p>Abstract:</p><p>In 1875, Parisian daily <i>Le Figaro</i> introduced a personal advertising column called the <i>petite correspondance</i>, which allowed people to write to each other using the newspaper as mediator, avoiding home addresses and the watchful parents or spouses who lived at them. The often-amorous exchanges this facilitated, some fictional (commissioned by the newspaper to entice readers), some real, drew on older forms, such as epistolary novels. In this way, they catered to readers' established taste for voyeurism while drawing them into a new erotic temporality, as these notes were simultaneously exchanged and voyeuristically read. Created in the very years that witnessed the conception of laws granting press freedom and setting the stage for a redefinition of \"pornography,\" the section brought together press and sexuality in novel ways, laying the groundwork for the forms of voyeuristic reading and exhibitionist living we—through social media—are steeped in today.</p></p>","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"35 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138538631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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
Between Science and Sorcery: Reimagining Human and Animal Relationality in George Sand's La Petite Fadette 在科学与巫术之间:在乔治·桑的《娇小的法黛特》中重新想象人与动物的关系
IF 0.2 3区 文学
NINETEENTH-CENTURY FRENCH STUDIES Pub Date : 2023-11-16 DOI: 10.1353/ncf.2023.a911799
Leah Powers
{"title":"Between Science and Sorcery: Reimagining Human and Animal Relationality in George Sand's La Petite Fadette","authors":"Leah Powers","doi":"10.1353/ncf.2023.a911799","DOIUrl":"https://doi.org/10.1353/ncf.2023.a911799","url":null,"abstract":"<p><p>Abstract:</p><p>In <i>La Petite Fadette</i>, one of George Sand's <i>romans champêtres</i>, the relationship that Fadette shares with the natural world is rooted in ancestral, embodied knowledge as well as close attention and observation. These relationships demonstrate connection and reciprocity which defies the common ideology of the time that positioned humans as superior to the nonhuman world. The present project argues that throughout the novel, Fadette is able to pass along her unique worldview to Landry, which changes his relationships to the nonhuman worlds. On the other hand, Sylvinet fails to take in Fadette's teachings, which ultimately harms the nonhuman world around him and contributes to his inability to find companionship. This essay demonstrates how the relationships between the human characters and the animal world significantly shape one's understanding of the novel and give a fuller picture of Sand's social and political aims.</p></p>","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"22 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138538632","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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
Ballet and Celebrity at the Paris Opera, or the Dreams of the Rat 巴黎歌剧院的芭蕾和名人，或者鼠梦
IF 0.2 3区 文学
NINETEENTH-CENTURY FRENCH STUDIES Pub Date : 2023-11-16 DOI: 10.1353/ncf.2023.a911798
Madison Mainwaring
{"title":"Ballet and Celebrity at the Paris Opera, or the Dreams of the Rat","authors":"Madison Mainwaring","doi":"10.1353/ncf.2023.a911798","DOIUrl":"https://doi.org/10.1353/ncf.2023.a911798","url":null,"abstract":"<p><p>Abstract:</p><p>The panoramic literature of the July Monarchy (1830–48) depicts the <i>rat</i> or ballet girl to be destined for prostitution, her dream of becoming a star a mere pretext used to exploit her. In my analysis of journalists writing about the young female dancer, I interrogate the neutrality of such sources, contextualizing the dance profession in relation to other employment options available to female women workers of the lower classes and reconsidering the <i>rat</i> as an icon of women's economic and artistic ambitions. While dance was described as essentializing femininity, it promised a transformation of the body and the self that allowed for social mobility, self-expression, and artistic renown. Including accounts from former <i>rats</i> (including Berthe Bernay, Cléo de Mérode, and Judith Gautier) I show how dancing informed their identities, allowing them to imagine alternative realities and giving form to the articulation of their desires for the future.</p></p>","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"4 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138538639","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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
"Sans doute habituée à une existence sédentaire": Des Esseintes's Turtle and the Residue of Naturalism “可能习惯了久坐不动的生活”:艾塞特斯的乌龟和自然主义的残余
IF 0.2 3区 文学
NINETEENTH-CENTURY FRENCH STUDIES Pub Date : 2023-11-16 DOI: 10.1353/ncf.2023.a911802
Susanna Lee
{"title":"\"Sans doute habituée à une existence sédentaire\": Des Esseintes's Turtle and the Residue of Naturalism","authors":"Susanna Lee","doi":"10.1353/ncf.2023.a911802","DOIUrl":"https://doi.org/10.1353/ncf.2023.a911802","url":null,"abstract":"<p><p>Abstract:</p><p>This article analyzes the decorated turtle in Huysmans's 1884 <i>À rebours</i>. It argues that des Esseintes's unfortunate animal, which perishes under its heavy ornamentation, plays out the apprehensions of its owner and embodies the psychological and physical perils that await him. Turtles—fundamental to nineteenth-century discoveries in developmental biology as well as to Darwin's theories of evolution—are at once instructive specimens and labile signifiers in competing narratives: sites and objects of theorization. The narrator's use of this animal thus also amounts to an insertion of naturalism within the novel's storied decadence. To make this argument, this article examines the turtle episode in the context of late nineteenth-century scientific and fictional writings about turtles, including Jules Hosch's 1878 short story \"Histoire d'une tortue et d'un étudiant.\"</p></p>","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"62 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138538658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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
Homeless Narrative in Jean Lorrain's Monsieur de Phocas 让·洛兰《福卡斯先生》中的流浪叙事
IF 0.2 3区 文学
NINETEENTH-CENTURY FRENCH STUDIES Pub Date : 2023-11-16 DOI: 10.1353/ncf.2023.a911804
Robert Ziegler
{"title":"Homeless Narrative in Jean Lorrain's Monsieur de Phocas","authors":"Robert Ziegler","doi":"10.1353/ncf.2023.a911804","DOIUrl":"https://doi.org/10.1353/ncf.2023.a911804","url":null,"abstract":"<p><p>Abstract:</p><p>Pedigreed by hyperesthesia, purified by an anorexia of the real, the Decadents strove to perfect an art positioned on the threshold of death where vitality's flame shone brightest before guttering and going out. Heralded by Denis Neveu as \"le roman bible de la Dėcadence,\" Jean Lorrain's <i>Monsieur de Phocas</i> (1901) shows how the repetition compulsion takes life with its disharmony and suffering, and stylizes it in works that are dead and thus immune to pain. Lorrain's hero, le duc de Fréneuse, encounters life's horrors as the undead who proliferate as the wax dolls, mannequins, and eyeless statues which remain after living being are replaced with their simulacra. Expressing a desire for escape from the compulsion to create, <i>Monsieur de Phocas</i> is a text in search of the one who can absolve it of the need to write in the first place.</p></p>","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"5 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138538644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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
Helen and Paris: Classicism and Frenchness in Saint-Saëns’s Hélène 海伦和帕里斯:Saint-Saëns的hendrit中的古典主义和法国性
3区 文学
NINETEENTH-CENTURY FRENCH STUDIES Pub Date : 2023-11-01 DOI: 10.5325/ninecentstud.35.0112
William Gibbons
{"title":"Helen and Paris: Classicism and Frenchness in Saint-Saëns’s <i>Hélène</i>","authors":"William Gibbons","doi":"10.5325/ninecentstud.35.0112","DOIUrl":"https://doi.org/10.5325/ninecentstud.35.0112","url":null,"abstract":"Abstract Camille Saint-Saëns’s one-act opera Hélène (1904), one of several works he composed on ancient Greek topics, depicts the night Helen of Troy departs Sparta with the Trojan prince Paris, igniting a war in the process. Hélène had been a long-gestating project, spurred by a simmering disdain for Jacques Offenbach’s enduringly popular satirical operetta La Belle Hélène (1864), which Saint-Saëns’s believed triggered no less than the collapse of French musical taste. Indeed, the opera was widely perceived in the Parisian press as a reclamation of the cultural legacy of ancient Greece—a treatment that rescued Hellenic absolute beauty from the German clutches of first Offenbach and then Wagner. Drawing extensively on reception studies, cultural history, and hermeneutical analysis, this article situates Hélène in complex, interweaving fin de siècle French musical debates over cultural heritage, nationalism, Wagnerism, and the aesthetics of absolute beauty.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"12 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135510428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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
Interpreting the Egyptian Code in Nineteenth-Century China: Pan Zuyin and His Circle of Antiquarians 解读19世纪中国的埃及法典:潘祖胤及其古物学界
3区 文学
NINETEENTH-CENTURY FRENCH STUDIES Pub Date : 2023-11-01 DOI: 10.5325/ninecentstud.35.0093
Helena Chen
{"title":"Interpreting the Egyptian Code in Nineteenth-Century China: Pan Zuyin and His Circle of Antiquarians","authors":"Helena Chen","doi":"10.5325/ninecentstud.35.0093","DOIUrl":"https://doi.org/10.5325/ninecentstud.35.0093","url":null,"abstract":"Abstract Antiquarianism in China experienced a dramatic change in the second half of the nineteenth century. While ancient Chinese artifacts were still eagerly sought after, scholars began to collect Egyptian inscriptions. Unequipped with any knowledge of the Egyptian writing system, they were fascinated by the stylistic similarity between Egyptian hieroglyphs and ancient Chinese seal-script characters. This article centers on the scholar-official Pan Zuyin (1830–90) and his collection of ink rubbings of the Decree of Canopus, a stele with trilingual inscriptions carved in the Ptolemaic era. It examines how Qing antiquarians interpreted ancient Egyptian inscriptions, adapting, denying, and transforming Champollion’s approach by explaining the formation and evolution of the Egyptian writing system in terms of their own philological theory, the liushu (the six modes of character formation). It argues that the craze for Egyptian inscriptions resulted from discursive changes occurring in the field of antiquarian study as the scope of acceptable research areas was broadened and the strange and exotic objects—previously considered uncollectible—began to attract scholarly attention. The popularity of Egyptian inscriptions also demonstrates that serious philological study and an amateurish pleasure-seeking attitude were not so much oppositional binaries as interdependent activities.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"13 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135510624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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
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