Correspondance Inédite 1885 - 1914
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Men, Masculinity and the Female Rebel in French Women's Fiction
MEN, MASCULINITY AND THE FEMALE REBEL IN FRENCH WOMEN’S FICTION, 1900-1913 A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2011 LUCY C. STONE SCHOOL OF LANGUAGES, LINGUISTICS AND CULTURES 2 Contents Abbreviations 3 Abstract 4 Declaration and Copyright Statement 5 Acknowledgements 6 Introduction 7 Chapter 1 Cries for Help: Men in Trouble in Colette Yver’s Les Cervelines (1903) and Daniel Lesueur’s Nietzschéenne (1908) 53 Les Cervelines: Dreaming of a Doctor for a Wife 55 Nietzschéenne: Propping up the Boss 77 Chapter 2 Anxious Seducers: Jeanne Marni’s Pierre Tisserand (1907) and Lucie Delarue-Mardrus’s Douce moitié (1913) 97 Pierre Tisserand: Misandry and Masculine Anxiety 99 Douce moitié: A Beleaguered Man 123 Chapter 3 Triangular Shackles: Masculinity, Male Homosociality and the Female Rebel in Marcelle Tinayre’s La Maison du péché (1902) and Colette’s L’Entrave (1913) 145 La Maison du péché: Objects of Faith 148 L’Entrave: Double Binds 165 Chapter 4 Giving and Taking Away: Rachilde’s La Jongleuse (1900) and Gabrielle Réval’s Le Ruban de Vénus (1906) 191 La Jongleuse: A ‘tour de passe-passe élégant’ 194 Le Ruban de Vénus: Loving Men, Laughing at Men 218 Conclusion 246 Bibliography 256 WORD COUNT 80,453 3 Abbreviations DM = Lucie Delarue-Mardrus, Douce moitié (Paris: Fasquelle, 1913) E = Colette, L’Entrave, in Œuvres, ed. by Claude Pichois, 4 vols (Paris: Gallimard, 1984- 2001), II, 325-474 LC = Colette Yver, Les Cervelines (Paris: Calmann-Lévy, 1928 [1903]) LJ = Rachilde, La Jongleuse (Paris: Des femmes, 1982 [1900]) MP = Marcelle Tinayre, La Maison du péché (Paris: Calmann-Lévy, 1902) N = Daniel Lesueur, Nietzschéenne (Paris: Plon, 1908) PT = J. -
French Romanticism and the Reinvention of Love by Maxime A
French Romanticism and the Reinvention of Love By Maxime A. Foerster A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Romance Languages and Literatures: French) In the University of Michigan 2012 Doctoral Committee: Professor Michèle A. Hannoosh, Chair Professor Cristina Moreiras-Menor Associate Professor Jarrod L. Hayes Associate Professor Nadine M. Hubbs Lecturer Esther Newton © Maxime A. Foerster 2012 Dedication Au charchour ii Acknowledgements I would like to express my gratitude to David Halperin, David Caron and Frieda Ekotto for having encouraged me to start my PhD at UM, Ann Arbor. I have been honored and stimulated to work with Michèle Hannoosh who taught me coherence and rigor throughout these years of thinking and writing. I feel privileged to have been able to write my dissertation with those I called my dream team, composed of Professors Michèle Hannoosh, Jarrod Hayes, Cristina Moreiras, Esther Newton and Nadine Hubbs. For their friendship, support and fabulousness, I would like to thank Aaron Boalick, Jennifer Bonnet, Virginie Brinker, Neil Doshi, Matthieu Dupas, Gilles Freissinier, Aston Gonzales, Melanie Hawthorne, Trevor Hoppe, Lauren Kennedy, Gérard Koskovich, Charline Lafage, Larry La Fountain, Nicolas Lamorte, Bertrand Metton, Pedro Monaville, Marie-Pierre Pruvot, Pantxika Passicot, Steve Puig, Marie Stoll, Marcelino Viera, and Yannick Viers. I will never thank my parents enough for their love and understanding. Above all, thank you, H.N. iii Table of Contents -
Oscar Wilde's Elegant Republic
Oscar Wilde’s Elegant Republic Oscar Wilde’s Elegant Republic: Transformation, Dislocation and Fantasy in fin-de-siècle Paris By David Charles Rose Oscar Wilde’s Elegant Republic: Transformation, Dislocation and Fantasy in fin-de-siècle Paris By David Charles Rose This book first published 2015 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by David Charles Rose All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8360-3 ISBN (13): 978-1-4438-8360-3 TABLE OF CONTENTS Acknowledgements .................................................................................... vii Preface ......................................................................................................... ix Chapter One .................................................................................................. 1 Paris Sighted Chapter Two ............................................................................................... 30 Paris Mutuels Chapter Three ............................................................................................. 47 Anglomania, Francophilia and Anglophobia Chapter Fouur .............................................................................................. -
The Nineteenth-Century Decadents/Ce of Alcott, Egerton, D' Arcy and Rachilde
University of Alberta Dionysian Dominatrices: The Nineteenth-Century Decadents/ce of Alcott, Egerton, D' Arcy and Rachilde Sarah Elizabeth Maier B.A., M.A. 'u'' A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfilment of the requirements for the degree of Doctor of Philosophy. Department of Comparative Literature and Film Studies Edmonton, Alberta Fa11 1997 National Library Bibliothèque nationale I*i of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395, rue Wellington OttawaON K1AON4 Ottawa ON K1A ON4 Canada Canada The author has granted a non- L'auteur a accorde une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, Ioan, distribute or seil reproduire, prêter, distribuer ou copies of this thesis in microfom, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/fïlrn, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts f?om it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. To love a woman, is, for an artist, to change one's religion. She is the rival of the idea, and she never forgives.. Arthur Symons, "Christian Trevalga" Her life blossomed in excess through what has been called by the philosphers decadence, the end of everythicg . -
Prostitution and Metatextuality in Rachilde's Monsieur Vénus
The Quest for Fictionality: Prostitution and Metatextuality in Rachilde’s Monsieur Vénus Steven Wilson In the mid to late nineteenth century in France, the contrived textuality of realism and naturalism came under increasing scrutiny owing to its limited capacity to articulate the destruction, pain, purposelessness, fragmentation, alienation and ennui that often characterised modern life. As a response to the inadequacies inherent in existing novelistic forms, modern formal experi- ments in narrative structure, technique and language combined to offer an innovative aesthetic experience that not only challenged dominant social and cultural forces but strove to resist and overcome the instrumentality of what had come before. The aesthetic energies of what became known as modernism are often associated with the decadent tropes in Baudelaire’s poetry, as well as with the work of Flaubert who, with characteristic ironic distance, famously declared that he wanted to write ‘un livre sur rien’. This article focuses instead on the contribution made by one of France’s most idiosyncratic fin-de-siècle woman writers, the polemical Rachilde. Labelled an ‘androgyne’, ‘hermaphrodite’ and ‘pervert’, Rachilde finds herself situated within a lineage of male authors stretching from Sade and Laclos to Gide and Proust, via Baudelaire, Rimbaud and Lautréamont (Finch 206). Revelling in ‘deviant’ sexual practices, destruction and the macabre, her subordination of literary convention and gender norms is one of the hallmarks of both her life and fiction. Governed by a spirit of independent self-determination and a desire to upset hegemonic norms of propriety, Rachilde mobilised the values inherent in art and aesthetic retreat in response to a stifling doxa of narrative cohesion, unified structure and mimetic representation of political, social and sexual norms. -
Rachilde, Marguerite Eymery Vallette (1860-1953)
City University of New York (CUNY) CUNY Academic Works Publications and Research Guttman Community College 2012 Rachilde, Marguerite Eymery Vallette (1860-1953) Ria Banerjee CUNY Guttman Community College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/nc_pubs/12 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] From Latchkey 4 (Summer 2012): http://www.oscholars.com/Latchkey/Latchkey4/featured4.htm FEATURED NEW WOMEN Rachilde, Marguerite Eymery Vallette (1860 -1953) Dubbed “Mademoiselle Baudelaire” by Maurice Barres and called a distinguished pornographer by Jules Barbey d’Aurevilly , Rachilde is one of the most complex literary figures to emerge at the tipping point between the nineteenth and twentieth centuries. Her most famous work includes the fictional novels Monsieur Vénus/Monsieur Venus (1884) and La Jongleuse/The Juggler (1900 , rev. 1925), and a nonfictional work called “Pourquoi je ne suis pas féministe”/“Why I am not a feminist” (1928), in which she famously claims, “I always regretted not being a man, not so much because I value more the other half of mankind but because, si nce I was forced by duty or by taste to live like a man… it would have been preferable to have had at least the privileges if not the appearances of [masculinity]” (qtd. in Lukacher 110). Scandalous in her youth, reviled by moralists as well as early femin ists, her work ignored or forgotten in the years after her death, Rachilde remains a sign of her times. -
A History of French Literature from Chanson De Geste to Cinema
A History of French Literature From Chanson de geste to Cinema DAVID COWARD HH A History of French Literature For Olive A History of French Literature From Chanson de geste to Cinema DAVID COWARD © 2002, 2004 by David Coward 350 Main Street, Malden, MA 02148-5020, USA 108 Cowley Road, Oxford OX4 1JF, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of David Coward to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and Patents Act 1988, without the prior permission of the publisher. First published 2002 First published in paperback 2004 by Blackwell Publishing Ltd Library of Congress Cataloging-in-Publication Data Coward, David. A history of French literature / David Coward. p. cm. Includes bibliographical references and index. ISBN 0–631–16758–7 (hardback); ISBN 1–4051–1736–2 (paperback) 1. French literature—History and criticism. I. Title. PQ103.C67 2002 840.9—dc21 2001004353 A catalogue record for this title is available from the British Library. 1 Set in 10/13 /2pt Meridian by Graphicraft Ltd, Hong Kong Printed and bound in the United Kingdom by TJ International Ltd, Padstow, Cornwall For further information on Blackwell Publishing, visit our website: http://www.blackwellpublishing.com Contents -
A Hermeneutic Reading of Natalie Barney and Renee Vivien
Anthós (1990-1996) Volume 1 Number 5 Article 7 1996 A Hermeneutic Reading of Natalie Barney and Renee Vivien Antoinette Sherman Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/anthos_archives Part of the Philosophy Commons Let us know how access to this document benefits ou.y Recommended Citation Sherman, Antoinette (1996) "A Hermeneutic Reading of Natalie Barney and Renee Vivien," Anthós (1990-1996): Vol. 1 : No. 5 , Article 7. Available at: https://pdxscholar.library.pdx.edu/anthos_archives/vol1/iss5/7 This open access Article is distributed under the terms of the Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International License (CC BY-NC-SA 4.0). All documents in PDXScholar should meet accessibility standards. If we can make this document more accessible to you, contact our team. A Hermeneutic Reading of Natalie Barney and Renee Vivien Antoinette Sherman "The word 'hermeneutics' points back, as we know, to the task of the interpreter, which is that of interpreting and communicating something which is unintelligible because it is spoken in a foreign language-even if it is the language of the signs and symbols of the Gods." -Gadamer, Truth and Method My intention in focusing upon the works of Renee Vivien and Natalie Barney is to make more widely known two fine writ ers whose neglect can in part be attributed to their sex and unconventional lifestyles and to examine how and why these women emerged as rare exceptions at the turn of the century. This work is not motivated by a desire to resurrect two forgotten women writers or create a new canon of women's literature; rather, it is done under the belief that the consideration of women writer's (or any other minority) can be beneficial to expanding and altering attitudes, prejudices and ideologies. -
The Symbolist Movement: Its Origins and Its Consequences
The Symbolist Movement: Its Origins and Its Consequences Clément Dessy , Ph.D. Candidate (Université Libre de Bruxelles, Belgium) Nabis and writers à l’Œuvre. Artists and dramatists for a symbolist theatre. [Abstract] The foundation of the « Théâtre de l’Œuvre » by Aurélien Lugné-Poe in 1893 is regarded as an important step in the constitution of avant-gardist theatre, with symbolist ideology and based on theatrical production. Camille Mauclair, great art critic and writer, and Édouard Vuillard, painter of the Nabi movement took part to this foundation. The friendship between Nabis, some writers and Lugné-Poe led them to experiment a symbolist theatre, rest on several concepts as puppet or shade theatre, theatre of “silence” (referring to the Maurice Maeterlinck’s work), etc. The Nabis made scenery, costume and program, mainly in the Lugné-Poe’s theatre, after the Paul Fort’s Theatre of Art or the Antoine’s Free Theatre. They were involved for example in preparation of the first performance of Alfred Jarry’s Ubu King, which can be analyzed as a critique of symbolism. In addition Nabi painters practised themselves the theatrical production with Jarry in the “Théâtre des Pantins” or wrote theatre plays, as L’Abbé Prout (?). Experiments of symbolist theatre gathered writers and painters around a common project between their arts. Related to my postgraduate work that I began in 2007 on the relationship between nabi painters and writers, I would suggest a communication which will expose an analysis of the theatrical project of the Nabis and their writer friends from literary, esthetical and sociological points of view. -
The Cult Novel: Three Paradigmatic Cases—L’Immoraliste, Bonjour Tristesse, Extension Du Domaine De La Lutte
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 12-16-2015 The ultC Novel: Three Paradigmatic Cases—L’Immoraliste, Bonjour Tristesse, Extension du Domaine de la Lutte Joseph A. Barreira University of Connecticut, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Barreira, Joseph A., "The ultC Novel: Three Paradigmatic Cases—L’Immoraliste, Bonjour Tristesse, Extension du Domaine de la Lutte" (2015). Doctoral Dissertations. 987. https://opencommons.uconn.edu/dissertations/987 The Cult Novel: Three Paradigmatic Cases—L’Immoraliste, Bonjour Tristesse, Extension du Domaine de la Lutte Joseph A. Barreira, Ph. D. University of Connecticut, 2015 This dissertation proposes that there are specific and observable reasons why certain novels have attained the status of, and been commonly called, “cult novels” or “cult fiction”. It also proposes to delineate the development of this process through three major French novels of the twentieth century: André Gide’s L’Immoraliste (1902), Françoise Sagan’s Bonjour Tristesse (1954), and Michel Houellebecq’s Extension du Domaine de la Lutte (1994) as paradigmatic novels of the genre. Since cult fiction covers a wide range of literary “registers”, from Harper Lee’s To Kill a Mocking Bird, a realist novel seemingly aimed at “young readers”, to such emblems of “high” or “experimental literature” as James Joyce’s Ulysses, for instance, arriving at a contained, direct definition is no simple task. Nevertheless, there are some basic attributes that can help us to arrive at a working definition. Often, but not always, cult fiction originates outside the production of the literary establishment. -
(Un)Veiling Sappho: Renée Vivien and Natalie Clifford Barney’S Radical Translation Projects
(Un)veiling Sappho: Renée Vivien and Natalie Clifford Barney’s Radical Translation Projects Rebekkah Dilts In 1894 a strange book titled Les chansons des Bilitis (The Songs of Bilitis) was published by the popular French writer Pierre Louÿs. A collection of erotic poetry, it began with an introduction that claimed the poems were found on the walls of a tomb in Cyprus and were written by an ancient Greek woman named Bilitis, a courtesan and contemporary of the ancient Greek poet Sappho: Bilitis [a connu] Sapphô, et elle nous parle d’elle sous le nom de Psappha quelle portait à Lesbos. Sans doute ce fut cette femme admirable qui apprit à la petite Pamphylienne l’art de chanter en phrases rhythmées, et de conserver à la postérité le souvenir des êtres chers. Malheureusement Bilitis donne peu de détails sur cette figure aujourd’hui si mal connue, et il y a lieu de le regretter, tant le moindre mot eût été précieux touchant la grande Inspiratrice.1 (Bilitis knew Sappho, and she speaks to us of her using Psappha [Sappho], the name she held in Lesbos. This admirable woman without a doubt taught the young Pamphyliene the art of signing rhythmic phrases, and of preserving for posterity the memory of those most dear. Unfortunately, Bilitis left us very few details about this figure, about whom so little is known today, and it is regretta- ble, since even the slightest word would have been precious re- garding the great Inspirer.)2 Refract | Volume 2 Issue 1! 80! In fact, Loüys fabricated Bilitis and the majority of the poems in the collection. -
Chapter 7 Jarry's Engagement with Contemporary Culture
RIJKSUNIVERSITEIT GRONINGEN ‘UBUSING’ CULTURE Alfred Jarry’s Subversive Poetics in the Almanachs du Père Ubu Proefschrift ter verkrijging van het doctoraat in de Letteren aan de Rijksuniversiteit Groningen op gezag van de Rector Magnificus, dr. F. Zwarts, in het openbaar te verdedigen op donderdag 19 november 2009 om 14.45 uur door Marieke Dubbelboer geboren op 20 december 1977 te Emmen 2 Promotor: Prof. Dr. E.J.Korthals Altes Copromotor: Dr. E.C.S. Jongeneel Beoordelingscommissie: Prof. Dr. P. Besnier Prof. Dr. R. Grüttemeier Prof. Dr. H.L.M. Hermans ISBN: 978-90-367-4107-1 Table of contents Foreword .................................................................................................... 7 Introduction .............................................................................................. 9 Alfred Jarry (1873-1907) ....................................................................... 9 The Almanachs du Père Ubu ................................................................ 10 Aims of this study ............................................................................... 12 Approach and outline of the book ........................................................ 14 Chapter 1 Symbolism and Beyond. An Introduction to Jarry’s Life, Work and Poetics .............................................................................................. 16 1.1 Life and work ................................................................................... 16 1.1.1 Early years ................................................................................