“VICTOR HUGO” in 19TH-CENTURY FRENCH LITERATURE by Abigail

Total Page:16

File Type:pdf, Size:1020Kb

“VICTOR HUGO” in 19TH-CENTURY FRENCH LITERATURE by Abigail NAMING THE MASTER: THE EVOLVING SIGNIFICANCES OF “VICTOR HUGO” IN 19TH-CENTURY FRENCH LITERATURE by Abigail Alexander A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland March, 2016 Abstract No name dominates the literature of the French 19th Century—and after—as pervasively as Victor Hugo’s. Thanks to this ubiquity, the evolving meanings of this name are visible in works by Hugo and by those who wrote under Hugo’s shadow. This study foregrounds the power of the act of naming to modify the significance of the name “Hugo,” from Sainte-Beuve and Gautier to Baudelaire, Rimbaud, Verlaine, and Mallarmé. The meanings of Hugo’s name, a name that both demands respect and yet also inspires dissent and revolution, depend upon its myriad interpretations from a community of namers that stretches as far as his renown. The import of “Hugo” lies in the hands of the namer, quite like the name of “God.” Through close readings of prefaces, poetry, novels, and essays, this dissertation analyzes these writers’ incorporations and projections of particular meanings of Hugo’s name in their works. While staking out their own subsequent literary revolutions, these writers often incorporate Hugo’s name to express both recognition for his contributions and resistance to their perceptions of his literary mission. By relying upon the philosophical approaches to “naming” offered by Plato, Lacan, Althusser, Genette, and Kripke, this investigation traces the creations and dissolutions of different meanings of the name “Hugo” that he and other 19th-century French writers projected. What does a signature signify? What kind of authority do such references implied in creation itself possess? These are questions developed in this study, which distance it from analyses of “influence” and “reception.” Examining the aftermath of what has been named illuminates how names come to be more dramatically re-appropriated or reductively understood over time. While Hugo’s death immediately renders his name more vulnerable to scathing critique ii from some writers, it also marks the beginning of the immortalization of his name as one to be both honored and confronted by others. Engaging with the conflicting combinations of promulgation, erasure, reverence, and profanation with regard to Hugo’s name leads to a reflection of “authorial authority” in History and on figures of “literary immortality.” Advisor: Professor Jacques Neefs Reader: Professor William Egginton iii Copy of Madame Bovary sent from Flaubert to Hugo iv Au Maître: Acknowledgements & Avertissement There are many people to thank for their continued support of this project. I would rather not imitate Flaubert’s dedication of “Au Maître” (without the name of the maître) seen on the copy of Madame Bovary that he sent to Hugo. Instead, I happily name my maîtres. Professor Jacques Neefs has offered endless generosity in the face of the nebulous ideas I have brought him over the years. It was through the reading for his seminars at JHU that I stumbled upon this project, and it was thanks to his simultaneous openness and ability to elegantly reformulate ideas, with gracious reorientations and a myriad of invaluable sources I never would have found alone, that this project became what it is. Comme toujours, merci, Professeur! As a reader for this project, Professor William Egginton gave me very helpful comments and suggestions for theoretical incorporations. Many family members and friends have put up with hearing far more than they wanted to hear about Hugo over these last few years, and for that I thank them. My heartfelt gratitude goes to my husband, Dr. Christopher RayAlexander, who has been my faithful companion, reader, encourager, and love. As Rumi wrote in The Book of Love, “A pen went scribbling along. When it tried to write love, it broke.” A dissertation is also a labor of love, and a dissertation writer, that inconnu riddled with self-doubt, needs many forms of love, guidance, and care, which these people have given in unique ways and which is pen-breakingly impossible to adequately describe. All references for Hugo’s works come from the Laffont Bouquins editions of his Œuvres Complètes unless otherwise noted. All emphases are original unless otherwise noted. v Table of Contents Introduction: The Fabric of Names 1 I. The Study of Names 6 A. Law & God 6 B. Fiction & Flux 12 C. Recognition & Reference 18 II. The Authorial Name 23 A. De-Capitalizing with Barthes 23 B. Exploring Authorial Onomastic Spaces with Foucault 26 Chapter I: Becoming by Naming: Hugo’s Hugos 33 I. Introduction 34 II. A Brief Study of the Prolegomenon 36 III. L’Enfant Sublime: Hugo between Chateaubriand and Napoleon 38 IV. 31 Years of Odes: Odes et Ballades 44 V. OGUH: Han d’Islande and Bug-Jargal 51 VI. Contradictions: A la Colonne, Préface de Cromwell, and Amy Robsart 59 VII. In the Name of Many: Les Orientales and Le Dernier Jour d’un condamné 67 VIII. Revolution: Hernani 75 IX. A Monument to Erasure: Notre-Dame, Marion de Lorme, and Les Feuilles d’automne 79 X. “[Hugo], c’est nous tous”: Le Roi s’amuse, Lucrèce Borgia, and Marie Tudor 85 XI. “Réformons, ne déformons pas”: Littérature et philosophie mêlées and Les Chants du crépuscule 92 XII. Les Mois Intérieurs: Les Voix Intérieures 98 XIII. Hugo l’immortel: Ruy Blas and l’Académie 102 XIV. A man of many names: Le Rhin, Les Burgraves, Pair, and Exile 109 XV. Author of “nous” and “Dieu”: Napoléon-le-petit, Les Châtiments, and Les Contemplations 116 XVI. Master and Satan: William Shakespeare, La Légende des siècles, Les Misérables, and Les Chansons des rues et des bois 123 XVII. The (banned) name of Paris: Les Travailleurs de la mer, Paris-Guide, and Le Rappel 133 XVIII. A Hugo’s Return: Actes et Paroles 141 XIX. Naming Hugo, Naming a Century: L’Art d’être grand-père, L’Histoire d’un crime, and a pre-posthumous Hugo 146 XX. The Deaths of Masters and Gods 155 XXI. Naming God: Dieu and Post-scriptum de ma vie 161 Chapter II: The Critical Name: Sainte-Beuve’s and Gautier’s Hugos 167 I. Introduction 167 II. A Mon Ami…: Cenacular Names in Dedication 168 III. Naming Hugo in Joseph Delorme 180 IV. From V.H. to YHVH: Les Consolations 193 V. In Love and War: 1830 202 vi VI. Hugo the god: Gautier’s Hugo 210 VII. Ceci tuera cela: Sainte-Beuve’s later reviews of Hugo’s works 225 VIII. Making Public Enemies with Private Details 241 IX. Reviewing Many Hugos: the Revue des deux mondes 254 X. A Stubbornly Hugolian Hugo 268 Chapter III: The génie and the sot: Baudelaire’s public and private Hugos 274 I. Introduction 275 II. A Hugo to Love: Baudelaire’s early letters 279 III. A New Name Rising: Les Fleurs du Mal and the first Figaro article 281 IV. Stacking Masters: The Gautier Article 285 V. Frissons fraternels: Baudelaire’s Hugos in Les Fleurs du Mal 296 A. Introduction 296 B. “Le Cygne” 302 C. “Les Sept Vieillards” 309 D. “Les Petites Vieilles” 321 E. Imitation, Plagiarism, and Dépassement 331 VI. The Stupidity of Believing Praise: Other Articles on Hugo 336 VII. The Stupidity of Genius: Shakespeare article and Brussels letters 340 VIII. The End of “grands hommes” and a “cré nom” 344 IX. The Many Baudelairean Hugos 349 Chapter IV: Hugo the nearly voyant but cabochard idealist: Rimbaud’s Hugo’s 355 I. Introduction 355 II. A Forbidden Hugo 356 III. Voyance: Hindsight is 20/20 360 IV. A Vieillard in Parody 375 V. Seeking more radical liberty: “Le Bateau ivre” 379 VI. De profundis: Une saison en enfer 394 VII. Seeing is disbelieving 402 Chapter V: A Faltering Crown of Names: Verlaine’s Hugos 406 I. Introduction 407 II. The First Maître: Early letters and a poem 408 III. Tempered Defenses 412 IV. Clashing Hugos: Poèmes saturniens and Le Parnasse contemporain 420 V. Recasting 1830 in 1867 424 VI. Doublement hugolâtre: Friendship in radicalism and dreams of poetic unity 431 VII. Le Rappel and the return of the Maître 439 VIII. Conjugal Trouble, Prison, and Conversion to Hugophobia 446 IX. “On change, n’est-ce pas?”: Transforming Namers and Names 453 X. The death of a false god 457 XI. A Satanic Hugo 470 XII. Do Unto (the Names of) Others 474 vii Chapter VI: Abdicating Names: Mallarmé’s Hugos 482 I. Introduction: Naming without Names 483 II. “Hugo! Hugo!”: Early Writings 486 III. Siding with Baudelaire against Hugolian utility 490 IV. The Mystery of a Name: “Toast funèbre” and “Sonnet” 497 V. Meeting the living and naming the dead: “Le vierge, le vivace, et le bel aujourd’hui” 507 VI. A Veil-Tearing Name: “Théodore de Banville” and “Solennité” 515 VII. Proust’s Hugo vs. Mallarmé’s Hugo: A Foray into Obscurantism 519 VIII. “Une inquiétude du voile dans le temple”: The Death of a god 524 IX. A Constellation 535 Conclusion: In His Name 540 Bibliography 548 Curriculum Vitae 561 viii Daumier, Honoré. Victor Hugo. Le Charivari 10 July 1849. Paris: Maison Victor Hugo. ix INTRODUCTION: THE FABRIC OF NAMES “What’s in a name?” - Shakespeare, Romeo and Juliet Few names reach the heights of acclaim that Victor Hugo’s attained. From his early renown as a poetic prodigy; to his revolutionary fame in the theater following the preface to Cromwell and Hernani; to his status as an Académicien; to his political influence, power, and opposition as a long-time exile; to his prominence as an author of towering novels; to his triumphant return to Paris and momentous funeral, Hugo comes to embody 19th-century France.
Recommended publications
  • Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
    WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal.
    [Show full text]
  • Dossier De Presse
    DOSSIER DE PRESSE 0 Exposition-focus CLEMENCEAU ACCUEILLE VICTOR HUGO Musée Clemenceau 17 mars 2020 – 31 juillet 2020 Le musée Clemenceau présente du 17 mars au 31 juillet 2020 une exposition-focus, Clemenceau accueille Victor Hugo, retraçant les destins croisés de deux Illustres, le jeune Clemenceau et le poète Hugo, revenu d’exil, à travers leurs combats communs, leurs idéaux et leur passion pour l’Asie, illustrés de documents originaux issus de collections publiques et privées. Tous deux originaires de Vendée, opposants à l'Empire, Victor Hugo et Clemenceau se rencontrent dès la proclamation de la République. Ils luttent contre l'abandon de l'Alsace et de la Moselle, pour l'amnistie des Communards, pour la laïcité, pour le suffrage universel, contre la censure, pour la liberté de la presse, l’abolition de la peine de mort. Affiche Henri Meyer. "Clemenceau, Président du Conseil municipal annonçant à Victor Hugo sa nomination de délégué sénatorial", Le Journal illustré, 30 janvier 1876. Musée Clemenceau Dans son carnet Victor Hugo note : « 16 janvier. […] - nous avons eu à dîner nos convives du dimanche plus mon délégué- suppléant M. Spuller. – après le dîner est venue une députation du Conseil municipal, conduite par son président, M. Clémenceau [sic], qui m’a annoncé ma nomination et adressé une allocution à laquelle j’ai répondu. » Victor Hugo est élu sénateur de la Seine au second tour par 115 voix sur 209, le 30 janvier 1876 : le Sénat lui servira désormais de tribune pour obtenir l'amnistie des Communards. 1 Georges Clemenceau Victor Hugo (1841-1929) (1802-1885) Victor Hugo achève la rédaction du Rhin lorsque naît Georges Clemenceau, et, comme s’il pressentait le destin du futur Père la Victoire, conclut que «cet admirable fleuve laisse entrevoir sous la transparence de ses flots le passé et l’avenir de l’Europe 2 Des figures vendéennes André.
    [Show full text]
  • June 1962 Acknowledgments
    A CRITICAL ANALYSIS OF FIVE POEMS BY ALFRED DE VIGNY "MOISE," "LA MAISON DU BERGER," "LA COLERE DE SAMSON," "LE MONT DES OLIVIERS," AND "LA MORT DU LOUP" A THESIS SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS BY ELAINE JOY C. RUSSELL DEPARTMENT OF FRENCH ATLANTA, GEORGIA JUNE 1962 ACKNOWLEDGMENTS In the preparation of this thesis I have received generous as sistance from many persons, and it is my wish to acknowledge their kind efforts. I am indebted to Doctor Benjamin F. Hudson, Chairman, Department of French, Atlanta University, to Mrs. Jacqueline Brimmer, Professor, Morehouse College, and to Mrs. Billie Geter Thomas, Head, Modern Language Department, Spelman College, for their kind and help ful suggestions. In addition to my professors, I wish to thank the Library staff, especially Mrs. Annabelle M. Jarrett, for all the kind assistance which I have received from them. ii TABLE OF CONTENTS Page ACKNOWLEDGMENTS ±± Chapter I. INTRODUCTION ! II. THE ORIGIN AND DEVELOPMENT OF THE ROMANTIC THEMES 5 III. THE FUNCTION OF THE POET 21 IV. THE PHILOSOPHY OF ALFRED DE VIGNI AS REVEALED IN: "LA MAISON DU BERGER, •' AND "LA COLERE DE SAMSON" 30 V. THE PHILOSOPHY OF ALFRED DE VIGNY AS REVEALED IN: »LE MONT DES OLIVIERS,» AND "LA. MORT DU LOUP" £2 Conclusion 5j^ BIBLIOGRAPHY 57 iii CHAPTER I INTRODUCTION Each literaiy movement develops its favorite themes. Love, death, religion, nature and nationalism became the great themes of the romantic period. The treatment of these themes by the precursors of romanticism was later interpreted and developed by the major romantic poets, Alphonse de Lamartine, Victor Hugo, Alfred de Musset and Alfred de Vigny.
    [Show full text]
  • La Fuerza Del Sino Romántico En Don Álvaro, Hernani Y Antony
    LA FUERZA DEL SINO ROMÁNTICO EN DON ÁLVARO, HERNANI Y ANTONY M.a Mercedes Guirao Silvente Correo electrónico: [email protected] Resumen Muchos críticos románticos se esforzaron en alejar Don Álvaro o la fuerza del sino de los dos dramas franceses que le sirvieron de modelos indirectos: Hernani de Victor Hugo y Antony de Alexandre Dumas, por considerarlos corruptos e inmorales. Pero no hay que olvidar que la obra de Rivas fue gestada en Francia, durante el exilio del autor; en pleno contacto con la revolución liberal y romántica en Europa. Este artículo pretende, a través de un estudio comparativo entre estos tres dramas fundamentales del Romanticismo europeo, demostrar su estrecha relación. Las tres obras sorprenden por la fuerza de ese destino nefasto, causante de desgracia y muerte, que está directamente vinculado con la schicksalstragödie alemana y evidencian la superación de la vieja y rígida frontera entre Orden y Caos; entre lo Apolíneo y lo Dionisíaco. Palabras clave: drama romántico, Don Álvaro o la fuerza del sino, Hernani, Antony. THE FORCE OF THE ROMANTIC FATE IN DON ÁLVARO, HERNANI AND ANTONY Abstract 237 Many romantic critics strove to separate Don Álvaro or the force of the fate from the two French dramas which served as indirect models: Victor Hugo’s Hernani and Alexandre Dumas’ Antony, for considering them corrupt and immoral. But it should not be forgotten that Rivas’ play was conceived in France, during the exile of the author; in full contact with the liberal and romantic revolution in Europe. This article aims, through a comparative study of these three fundamental dramas of European romanticism, to demonstrate their close relationship.
    [Show full text]
  • Dream: a Brief Comparative Study of Nerval and Keats Safoora Torkladani, Pyeaam Abbasi University of Isfahan, Isfahan, Iran E-Mail: [email protected]
    International Letters of Social and Humanistic Sciences Online: 2015-07-01 ISSN: 2300-2697, Vol. 55, pp 140-146 doi:10.18052/www.scipress.com/ILSHS.55.140 CC BY 4.0. Published by SciPress Ltd, Switzerland, 2015 Dream: A Brief Comparative Study of Nerval and Keats Safoora Torkladani, Pyeaam Abbasi University of Isfahan, Isfahan, Iran E-mail: [email protected] Keywords: Nerval; Keats; Dream; Reality; Poetry ABSTRACT. Dreams, as reflections of the subconscious, seem to be an essential ingredient of Nerval’s and Keats’s poetry. The two poets show that poetry is an apt place to explore the blurred boundary and continuity between dream and reality. This idea seems to be in close relation with both poets’ search for identity and inner self. The female figure that, also, appears in many of the two poets’ poms is closely related with the poets’ obsession with dreams in which they seek to ward off depression and find proof for imagination. Nerval and Keats use poetry to understand their dreams and give them shape and meaning. They create mysterious worlds in their poems where dreams and reality are intermingled. In both Nerval and Keats, the significance of dream lies in the fact that it plays the role of a safe haven for the poet who is afraid of the unstable reality and identity. Both seem to seek refuge in dream where a stable identity and a permanent beauty may be found. 1. INTRODUCTION Gérard de Nerval grew up with his uncle in Valois, the city that makes up the setting for most of his writings, including Les Filles du Feu.
    [Show full text]
  • Le Roi S'amuse Hugo, Victor
    Le Roi s'amuse Hugo, Victor Publication: 1832 Catégorie(s): Fiction, Théâtre, XIXe siècle Source: http://www.ebooksgratuits.com 1 A Propos Hugo: Victor-Marie Hugo (26 February 1802 — 22 May 1885) was a French poet, novelist, playwright, essayist, visual artist, states- man, human rights campaigner, and perhaps the most influen- tial exponent of the Romantic movement in France. In France, Hugo's literary reputation rests on his poetic and dramatic out- put. Among many volumes of poetry, Les Contemplations and La Légende des siècles stand particularly high in critical es- teem, and Hugo is sometimes identified as the greatest French poet. In the English-speaking world his best-known works are often the novels Les Misérables and Notre-Dame de Paris (so- metimes translated into English as The Hunchback of Notre- Dame). Though extremely conservative in his youth, Hugo mo- ved to the political left as the decades passed; he became a passionate supporter of republicanism, and his work touches upon most of the political and social issues and artistic trends of his time. Source: Wikipedia Disponible sur Feedbooks pour Hugo: • Fantine (1862) • Cosette (1862) • Jean Valjean (1862) • Marius (1862) • Le Dernier Jour d'un condamné (1829) • Notre-Dame de Paris - 1482 (1831) • L'idylle rue Plumet et l'épopée rue Saint-Denis (1862) • La fin de Satan (1886) • Les Contemplations (1859) • Les Burgraves (1843) Note: Ce livre vous est offert par Feedbooks. http://www.feedbooks.com Il est destiné à une utilisation strictement personnelle et ne peut en aucun cas être vendu. 2 L’apparition de ce drame au théâtre a donné lieu à un acte ministériel inouï.
    [Show full text]
  • Conference Programme Guernsey 28-30 June 2019 Organised by the Victor Hugo in Guernsey Society
    IN GUERNSEY CONFERENCE 2019 Conference Programme Guernsey 28-30 June 2019 Organised by The Victor Hugo in Guernsey Society Supported by the Guernsey Arts André Gill illustration for L’Eclipse, 25 April 1869, from the Gérard Pouchain collection. from the Gérard Pouchain April 1869, 25 L’Eclipse, André Gill illustration for Commission About The Victor Hugo In Guernsey Society Welcome from The Victor Hugo In Guernsey Society Victor Hugo wrote many of his greatest works on The Victor Hugo in Guernsey Society welcomes you to its 3rd In~ a letter to his publisher, Lacroix, in December the island of Guernsey, a small British dependency Victor Hugo in Guernsey conference. This weekend in the 1868, after he had announced the publication of 20 miles off the coast of France. Hugo was in exile, but island of Hugo’s exile will focus on the novel Hugo published a new work by Hugo which he characterised as a Roman despite his grief for his family and his homeland he was 150 years ago in 1869, L’Homme qui rit, (The Man who Laughs), historique, the famous novelist wrote: inspired by the beauty of the rocky landscape and seas written on Guernsey and set in England. Our sister island of “When I paint history I make my historical characters that surrounded him to produce magnificent novels – Alderney plays a pivotal part in the narrative, and even our old do only what they have done or could do, their characters including Les Misérables, and Les Travailleurs de la mer – Norman law finds its way into the text.
    [Show full text]
  • Baudelaire 525 Released Under Creative Commons Attribution-Noncommercial Licence
    Table des matières Préface i Préface des Fleurs . i Projet de préface pour Les Fleurs du Mal . iii Preface vi Preface to the Flowers . vi III . vii Project on a preface to the Flowers of Evil . viii Préface à cette édition xi L’édition de 1857 . xi L’édition de 1861 . xii “Les Épaves” 1866 . xii L’édition de 1868 . xii Preface to this edition xiv About 1857 version . xiv About 1861 version . xv About 1866 “Les Épaves” . xv About 1868 version . xv Dédicace – Dedication 1 Au Lecteur – To the Reader 2 Spleen et idéal / Spleen and Ideal 9 Bénédiction – Benediction 11 L’Albatros – The Albatross (1861) 19 Élévation – Elevation 22 Correspondances – Correspondences 25 J’aime le souvenir de ces époques nues – I Love to Think of Those Naked Epochs 27 Les Phares – The Beacons 31 La Muse malade – The Sick Muse 35 La Muse vénale – The Venal Muse 37 Le Mauvais Moine – The Bad Monk 39 L’Ennemi – The Enemy 41 Le Guignon – Bad Luck 43 La Vie antérieure – Former Life 45 Bohémiens en voyage - Traveling Gypsies 47 L’Homme et la mer – Man and the Sea 49 Don Juan aux enfers – Don Juan in Hell 51 À Théodore de Banville – To Théodore de Banville (1868) 55 Châtiment de l’Orgueil – Punishment of Pride 57 La Beauté – Beauty 60 L’Idéal – The Ideal 62 La Géante – The Giantess 64 Les Bijoux – The Jewels (1857) 66 Le Masque – The Mask (1861) 69 Hymne à la Beauté – Hymn to Beauty (1861) 73 Parfum exotique – Exotic Perfume 76 La Chevelure – Hair (1861) 78 Je t’adore à l’égal de la voûte nocturne – I Adore You as Much as the Nocturnal Vault..
    [Show full text]
  • Federal Relief Programs in the 19Th Century: a Reassessment
    The Journal of Sociology & Social Welfare Volume 19 Issue 3 September Article 8 September 1992 Federal Relief Programs in the 19th Century: A Reassessment Frank M. Loewenberg Bar-Ilan University, Israel Follow this and additional works at: https://scholarworks.wmich.edu/jssw Part of the Social History Commons, Social Work Commons, and the United States History Commons Recommended Citation Loewenberg, Frank M. (1992) "Federal Relief Programs in the 19th Century: A Reassessment," The Journal of Sociology & Social Welfare: Vol. 19 : Iss. 3 , Article 8. Available at: https://scholarworks.wmich.edu/jssw/vol19/iss3/8 This Article is brought to you by the Western Michigan University School of Social Work. For more information, please contact [email protected]. Federal Relief Programs in the 19th Century: A Reassessment FRANK M. LOEWENBERG Bar-Ilan University Israel School of Social Work The American model of the welfare state, incomplete as it may be, was not plucked out of thin air by the architects of the New Deal in the 1930s. Instead it is the product and logical evolution of a long histori- cal process. 19th century federal relief programsfor various population groups, including veterans, native Americans, merchant sailors, eman- cipated slaves, and residents of the District of Columbia, are examined in order to help better understand contemporary welfare developments. Many have argued that the federal government was not in- volved in social welfare matters prior to the 1930s - aside from two or three exceptions, such as the establishment of the Freed- man's Bureau in the years after the Civil War and the passage of various federal immigration laws that attempted to stem the flood of immigrants in the 1880s and 1890s.
    [Show full text]
  • Definingromanticnationalism-Libre(1)
    UvA-DARE (Digital Academic Repository) Notes towards a definition of Romantic Nationalism Leerssen, J. Publication date 2013 Document Version Final published version Published in Romantik Link to publication Citation for published version (APA): Leerssen, J. (2013). Notes towards a definition of Romantic Nationalism. Romantik, 2(1), 9- 35. http://ojs.statsbiblioteket.dk/index.php/rom/article/view/20191/17807 General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:30 Sep 2021 NOTES TOWARDS A DEFINITION Romantic OF ROMANTIC Nationalism NATIONALISM [ JOEP LEERSSEN ABSTR While the concept ‘Romantic nationalism’ is becoming widespread, its current usage tends to compound the vagueness inherent in its two constituent terms, Romanticism and na- tionalism. In order to come to a more focused understanding of the concept, this article A surveys a wide sample of Romantically inflected nationalist activities and practices, and CT nationalistically inflected cultural productions and reflections of Romantic vintage, drawn ] from various media (literature, music, the arts, critical and historical writing) and from dif- ferent countries.
    [Show full text]
  • Students Will Develop an Understanding of the Major Ideas
    SUNY Cortland Department of International Communications and Culture FRE 417/515 Romanticism & Realism Fall 2009 Bob Ponterio 3 cr. hrs Tel: 2027 home: 756-4813 M 4:20-6:50 Office: Main 223 Main 229 Office hrs: MT 9-12, & by appointment [email protected] Textes : We will use electronic texts for shorter works. Each student will also be choosing one novel to read that can either be borrowed from the library or bought online at Amazon.com: Resources utiles: Pour acheter des livres en français: http://www.alapage.fr ; http://www.amazon.fr ; http://www.archambault.ca/ ; http://www.amazon.ca Free online versions : http://gallica.bnf.fr/classique/ Styles de peinture: http://discipline.free.fr/lesstyles.htm Course Description: We will explore how changing ideas about the nature of the world and of mankind led to two major approaches to writing literature in the 19th century: Romanticism & Realism. An examination of a number of major works of poetry, drama, and prose will help us how these two different but related concepts evolved and continue to influence us today. Open to graduate and upper level undergraduate students. For upper level undergraduates who have already completed all major requirements, this course can count for SUNY Cortland’s graduate program. Évaluation: Presentations 20% (3 short in-class presentations) Papers 40% (3 : 5-page papers; 1st draft will be revised) HW 10% (short written) Final Exam 30% Objectives: Students will develop an understanding of the major ideas underpinning the romantic & realist movements and be able to recognize and explain the elements of various types of romanticism & realism in the works that they read.
    [Show full text]
  • THE HISTORY of ORLANDO FURIOSO
    ElizabethanDrama.org presents the Annotated Popular Edition of THE HISTORY of ORLANDO FURIOSO By Robert Greene Written c. 1590 Earliest Extant Edition: 1594 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright Peter Lukacs and ElizabethanDrama.org, 2020. This annotated play may be freely copied and distributed. THE HISTORY OF ORLANDO FURIOSO BY ROBERT GREENE Written c. 1590 Earliest Extant Edition: 1594 DRAMATIS PERSONÆ. INTRODUCTION to the PLAY Marsilius, Emperor of Africa Robert Greene's Orlando Furioso is a brisk play that Angelica, Daughter to Marsilius. is very loosely based on the great Italian epic poem of the Soldan of Egypt. same name. The storyline makes little logical sense, but Rodomont, King of Cuba. lovers of Elizabethan language will find the play to be enter- Mandricard, King of Mexico. taining, if insubstantial, reading. The highlights of Orlando Brandimart, King of the Isles. Furioso are comprised primarily of the comic scenes of Sacripant, a Count. the hero and knight Orlando, who has gone mad after losing Sacripant's Man. his love, the princess Angelica, interacting with local rustics, Orlando, a French Peer. who in the fashion of the age are, though ostensibly inter- Orgalio, Page to Orlando. national, thoroughly English. Though never to be confused Medor, Friend to Angelica. with the greatest works of the age, Greene's Orlando de- serves to be read, and perhaps even occasionally staged. French Peers: Ogier. OUR PLAY'S SOURCE Namus. Oliver. The text of this play was originally adapted from the Turpin. 1876 edition of Greene's plays edited by Alexander Dyce, Several other of the Twelve Peers of France, whose but was then carefully compared to the original 1594 quarto.
    [Show full text]