NINETEENTH-CENTURY FRENCH STUDIES最新文献

{"title":"Bonnard and the Folding Screen: Toward a Theory of Ornamentalism","authors":"C. Kang","doi":"10.5325/ninecentstud.33.0128","DOIUrl":"https://doi.org/10.5325/ninecentstud.33.0128","url":null,"abstract":"\u0000 Bonnard’s folding screens are generally understood as part of the phenomenon of japonisme, a widespread fascination with Japanese culture in Europe that emerged during the second half of the nineteenth century. When they begin to appear and then alter the representation of space in Bonnard’s painting, however, japonisme no longer provides an adequate framework for understanding their role in his art. I endeavor to account for the continued life of the non-Western object in the Western context by highlighting the folding screen’s capacity to disrupt and engender change even as it disappears from Bonnard’s late paintings. After an overview of the artist’s folding screens and their relation to japonisme, I trace their migration into Bonnard’s paintings, where the limits of this Western construct become more apparent. I propose an alternate framework—ornamentalism—within which to interpret their integration into the compositional structure of the late paintings. Ornamentalism views the ornamental object as a subject whose power to act is tied to its own degradation under imperialist and colonialist practices. Through it, I consider how the evolution of the folding screen in Bonnard’s art can help us think differently about the dynamics between Western artists and non-Western objects.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"4 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77636976","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}

{"title":"Confronting the Past, Hanging Together: Charles Stewart Carstairs’s Campaign for Modern Art","authors":"Margaret Iacono Wertz","doi":"10.5325/ninecentstud.33.0113","DOIUrl":"https://doi.org/10.5325/ninecentstud.33.0113","url":null,"abstract":"\u0000 Charles Stewart Carstairs (1865–1928) was a world-renowned art dealer and adviser to eminent collectors like Henry Clay Frick (1849–1919) and Andrew W. Mellon (1855–1937). As a principal member of M. Knoedler and Company—an art-dealing firm founded in about 1848 as the New York branch of the French Goupil and Company that remained active until its closure in 2011—and the director of its London headquarters for more than two decades, Carstairs was a key figure in the art market of the late nineteenth century and the early twentieth. Although his fundamental role in creating a market for Old Master paintings in the United States is now being acknowledged, his advocacy of modern and contemporary art and especially modern French painting remains largely unexplored. This article discusses his personal art collection and shows how the promotional methods he employed—including displaying Old Masters and modern and contemporary works together, a strategy being increasingly adopted by museums, galleries, and auction houses today—encouraged collector and public appreciation of modern painting.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"117 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81151717","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}

{"title":"Too Untidy to Live? Helen Burns and Disorderly Girlhood Experience","authors":"Elissa Myers","doi":"10.5325/ninecentstud.33.0001","DOIUrl":"https://doi.org/10.5325/ninecentstud.33.0001","url":null,"abstract":"\u0000 This essay performs a queer reading of Helen Burns’s untidiness in Jane Eyre. While that untidiness is a facet of Helen’s character that has been ignored in recent criticism, attending to this aspect of her character also enables a theorization of the possible forms of children’s resistance within nineteenth-century educational settings. Lowood School aims to control girls’ outer and inner lives by forcing them to attend to their bodies at the expense of their minds, inculcating what I call the time of the body. In order to make this argument, I draw on Kathryn Bond Stockton’s idea that, for children, temporality involves “growing sideways” rather than “up,” that is, finding generative pockets of time that do not lead to a linear or reproductive (adult) narrative. Helen’s untidiness and the desire between Helen and Jane are queer in that they coexist with but are somewhat set apart from the novel’s marriage plot. In addition, both Helen and Jane’s relationship and Helen’s untidy embodiment are queer because they defy Lowood’s insistence on the gendered temporalities of self-sacrifice in favor of an embrace of unruly materiality and contemplation in atemporal and nonphysical spaces.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"7 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78285631","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}

{"title":"The Periodical Text Network, Serialized Genres, and the Making of “Literature” in the Nineteenth-Century United States","authors":"Matthew Pethers","doi":"10.5325/ninecentstud.33.0019","DOIUrl":"https://doi.org/10.5325/ninecentstud.33.0019","url":null,"abstract":"\u0000 Textual serialization was a pervasive practice in the United States in the nineteenth century but also—as the century came to an end—an increasingly contentious one, with emergent academic-disciplinary conceptions of literature starting to define the field in terms of notions of textual integrity antithetical to the part-publication techniques of mass periodical culture. Expanding on emergent media studies–influenced approaches to serialization and their debt to Latourian theories of culture as network in particular, this essay seeks to understand the development of modern intellectual specialization by considering the nineteenth-century magazine as a complex web of different modes of writing whose engagements with and adaptations of each other both resisted and were resisted by the process of disciplinary differentiation that Niklas Luhmann sees as integral to contemporary societies. Taking a particular issue of the quality magazine the Atlantic Monthly from 1872 as its case study, this essay comprehensively maps the intersection between different serialized genres during the nineteenth century, in the process pushing accounts of serialization beyond the dominant emphasis on the novel to consider serialized biographies, essays, poems, and short stories while also delineating the shifting cultural prestige of these literary forms.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"33 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84619060","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}

{"title":"Room for Pride: The Municipal Portrait Gallery in Old San Juan","authors":"P. d’Ors","doi":"10.5325/ninecentstud.33.0173","DOIUrl":"https://doi.org/10.5325/ninecentstud.33.0173","url":null,"abstract":"\u0000 The present essay focuses on the portrait gallery housed in the sala de cabildos of Old San Juan’s city hall during the nineteenth century. Because this was the room in which the city council met, it became a symbolically charged space that acted as a locus of local civic pride. Two impressive full-length portraits of governors of the island stood out within the gallery: the Portrait of Ramón de Castro by local painter José Campeche (1751–1809) and the Portrait of Miguel de la Torre by Eliab Metcalf (1785–1834), a painter born in Massachusetts who sojourned in the island. Both are unusual in that they celebrate Puerto Ricanness and present the viewer with a particular vision of local identity within the context of the Spanish colonial empire. Besides commissioning these portraits, the city council orchestrated social events during which San Juan citizens could view the sala de cabildos and become actors in the performance of social identity.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"27 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82963433","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}

{"title":"See Sharp: Discord across Portraits of the Mozart Family Attributed to Carmontelle","authors":"Margot Bernstein","doi":"10.5325/ninecentstud.33.0092","DOIUrl":"https://doi.org/10.5325/ninecentstud.33.0092","url":null,"abstract":"\u0000 Louis Carrogis called Carmontelle was a French amateur draftsman whose association with the royal Orléans court in the final decades of the ancien régime afforded him direct access to Enlightenment luminaries, celebrities, and elites. Carmontelle created a well-known triple-portrait drawing of Leopold, Maria Anna, and Wolfgang Amadeus Mozart during the family’s 1763–64 stay in France. Four museums—two in France and two in the United Kingdom—claim to count autograph versions of this triple portrait (in other words, in Carmontelle’s own hand) among their collections. Close examination of these triple portraits—in the collections of the Musée Carnavalet in Paris, the Musée Condé in Chantilly, the British Museum in London, and Castle Howard in Yorkshire—reveals, however, that three of these four works are not autograph drawings by Carmontelle. In fact, one of these three sheets is not a drawing at all. This essay examines the origins of these misattributions and some of the reasons for their perpetuation. More broadly, it cautions against accepting prestigious provenances at face value and demonstrates the value of close, prolonged looking and careful comparative analysis.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"7 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87355973","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}

{"title":"The Nineteenth-Century Lives of Juan de Pareja (ca. 1608–1670)","authors":"D. Pullins","doi":"10.5325/ninecentstud.33.0186","DOIUrl":"https://doi.org/10.5325/ninecentstud.33.0186","url":null,"abstract":"\u0000 On the basis of precious few facts from the artist’s lifetime, nineteenth-century authors with varying agendas wove stories around Juan de Pareja, the seventeenth-century Afro-Hispanic painter who was enslaved by Diego Velázquez for some two decades. Before the opening of Paris’s Galerie espagnole in 1838, writers hewed closely to Pareja’s first biography, published in Antonio Palomino’s El museo pictórico y escala óptica (1715–24). Thereafter, however, fanciful plot twists and cameo appearances by other historical characters, notably Peter Paul Rubens, became part of tales relayed in the popular press, from newspapers and magazines to children’s books, language primers, and plays. This essay focuses on the origins of particularly persistent threads in this extensive body of previously unexamined narratives and considers how such dynamic fabulation intersected with abolitionist agendas, popular illustrations of Pareja’s life, and seventeenth-century works of art.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"65 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79091345","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}

{"title":"Grace","authors":"Naina Saligram","doi":"10.5325/ninecentstud.33.0256","DOIUrl":"https://doi.org/10.5325/ninecentstud.33.0256","url":null,"abstract":"ABSRACT Neural network ensemble is a collaborative learning paradigm that utilizes multiple neural networks to solve a complex learning problem. Constructing predictive models with high generalization performance is an important and yet most challenging goal for robust intelligence systems in the presence of dirty data. Given a target learning task, popular approaches have been dedicated to find the top performing model. However, it is difficult in general to estimate the best model when available data is finite, possibly dirty, and insufficient for the problem. In this talk, I will give an overview of a diversity-centric ensemble learning framework developed at Georgia Tech, including methodologies and algorithms for measuring, enforcing, and combining multiple neural networks by improving generalization performance of the overall system and maximizing ensemble utility and resilience to dirty data. I will also discuss experiences and lessons learned throughout my academic journey and the importance of open-ended learning, lifelong learning, and learning from interactions with diverse scholars. BIOGRAPHY Ling Liu is a Professor in the School of Computer Science at Georgia Institute of Technology. She directs the research programs in the Distributed Data Intensive Systems Lab (DiSL), examining various aspects of big data powered artificial intelligence (AI) systems, and machine learning (ML) algorithms and analytics, including performance, availability, privacy, security and trust. Prof. Liu is an elected IEEE Fellow, a recipient of IEEE Computer Society Technical Achievement Award (2012), and a recipient of the best paper award from numerous top venues, including IEEE ICDCS, WWW, ACM/IEEE CCGrid, IEEE Cloud, IEEE ICWS. Prof. Liu served on editorial board of over a dozen international journals and served as the editor in chief of IEEE Transactions on Service Computing (2013-2016), and currently is the editor in chief of ACM Transactions on Internet Computing (since 2019). Prof. Liu is a frequent keynote speaker in top-tier venues in Big Data, AI and ML systems and applications, Cloud Computing, Services Computing, Privacy, Security and Trust. Her current research is primarily supported by USA National Science Foundation under CISE programs, IBM and CISCO. DAT E: Tuesday January 31, 2023 TIME: 7p 8p LOCATION: Virtual on MS Teams","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"81 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85738213","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}

{"title":"“A true Patron without any pretense of being one”: William H. Stewart, His Album, and His Friends from the Modern Spanish School in Nineteenth-Century Paris","authors":"Iraida Rodríguez-Negrón","doi":"10.5325/ninecentstud.33.0217","DOIUrl":"https://doi.org/10.5325/ninecentstud.33.0217","url":null,"abstract":"\u0000 The art collection of William H. Stewart (1820–97), an American expatriate who lived in Paris during the second half of the nineteenth century, comprised more than two hundred paintings by contemporary American and European artists and was lauded as the most outstanding compilation of works by artists of the modern Spanish school. Following the collection’s dispersal at auction in 1898, Stewart’s reputation as a patron began to diminish. This essay aims to rehabilitate Stewart, further the appreciation of his contributions, and shed light on the connections he established with some of the most popular artists of the period, especially those of Spanish origin living in Paris. These relationships are highlighted in “The Stewart Album,” now in the collection of the Meadows Museum in Dallas, Texas. This extraordinary compendium of primary sources is a testament to Stewart’s connoisseurship and taste and the important place he occupied in the international art scene during the last four decades of the nineteenth century. By considering the material within the album together with other contemporary sources, a clearer picture of a formidable artistic patron emerges, one who not only developed personal relationships with artists but also promoted Spanish art and culture among his American friends.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"7 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82208034","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}

{"title":"Renoir’s Bathers (Study for The Great Bathers): A Recent Acquisition at the Morgan Library and Museum","authors":"C. Bailey","doi":"10.5325/ninecentstud.33.0078","DOIUrl":"https://doi.org/10.5325/ninecentstud.33.0078","url":null,"abstract":"\u0000 This essay focuses on the Morgan Library and Museum’s recently acquired drawing Bathers (1886–87), made in preparation for Pierre-Auguste Renoir’s painting The Great Bathers (1885–87; Philadelphia Museum of Art). It is the first in-depth study of the drawing and also reexamines the artist’s process in developing and refining his celebrated painting. Considering the visual and written sources of Renoir’s creative processes as well as the artist’s intellectual concerns during the mid-1880s, I discuss Bathers together with Renoir’s other large-scale preparatory figure drawings, which adopted similar graphic techniques. I hope not only to clarify the chronology of Renoir’s production of The Great Bathers but also to offer a fresh appraisal of the role drawing played in Renoir’s working practice in the decade following his emergence as one of the leading figures in the Impressionist movement.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"113 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88073132","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}