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37Th Annual Nineteenth-Century French Studies Colloquium University of Pennsylvania and Villanova University 27-29 October 2011, Philadelphia, PA

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37Th Annual Nineteenth-Century French Studies Colloquium University of Pennsylvania and Villanova University 27-29 October 2011, Philadelphia, PA Law & Order / La loi & l’ordre: 37th Annual Nineteenth-Century French Studies Colloquium University of Pennsylvania and Villanova University 27-29 October 2011, Philadelphia, PA ABSTRACTS Helen Abbott, Bangor University Bending the laws of poetry in Baudelaire, Banville and Mallarmé This paper sets out to analyse how poets in the mid-to-late nineteenth century in France distort, manipulate or completely abolish accepted rules of poetry. It will focus on contemporary poetic treatises in conjunction with what poets say about their poetry. Banville’s own treatise will form a pivotal text in my analysis, but I will start with a close-reading of Baudelaire’s octosyllabic sonnet, ‘Épigraphe pour un Livre condamné’, published in 1861, in the wake of his 1857 trial for Les Fleurs du Mal. As a text which signals how Baudelaire bends the laws of poetry, he also outlines how he expects his readers to be capable of grasping the clever subtlety that his manipulations entail. What critical and poetic texts of this era reveal, then, is that prescriptive legislation surrounding poetic endeavours is not done away with altogether, but the emphasis shifts so that a new aesthetic criteria, the art of listening to poetry, takes centre stage in the debate over poetic validity and status. Like Baudelaire, Mallarmé is uneasy about explaining poetic techniques to the public, but when he does so, he uses legislative vocabulary, as his pivotal ‘Crise de vers’ text demonstrates. The influence of Banville’s prosodic theories on Mallarmé is made clear by his recognition that Banville provides an ideal example of how the alexandrine line can open itself up to greater flexibility, whilst not yet requiring a total dissolution of prosodic rules. The challenge, then, for poets of this era is not getting rid of the laws of poetry altogether, but learning ways of bending them to fit a poetry in a state of crisis. Joseph Acquisto, University of Vermont Voyager du politique au poétique chez Baudelaire et Rancière Cette communication vise à explorer la loi poético-politique tel qu’elle s’énonce chez Jacques Rancière et telle qu’elle est appliquée au « Voyage » de Charles Baudelaire. Dans La chair des mots, Rancière définit la révolution lyrique moderne comme une nouvelle façon d’accompagner le « dit » et de le rythmer comme un voyage. Cette notion de voyage implique par conséquent un rapport à un « nous », ce qui lie le poétique au politique et qui fait en sorte qu’il en dépend. La nouvelle liberté du poète, c’est celle de se soustraire de l’obligation de la représentation, ce qui dépend, selon Rancière, d’une nouvelle politique du sensible, d’une nouvelle façon de rendre le mot présent au monde. Nous voyons de manière particulièrement marquée cette tendance vers la poétique « moderne » dans la transition entre l’édition de 1857 des Fleurs du Mal et celle de 1861. La nouvelle fin des Fleurs crée un sens de communauté même si le poète se présente en général plus cynique à l’égard de la possibilité d’un rapport à autrui. L’édition de 1857 se ferme sur l’artiste, le dernier poème étant « La mort de l’artiste », tandis qu’en 1861, c’est « Le voyage » qui clôt le volume; en faisant cette substitution, Baudelaire passe de la possibilité de l’éternel à un « nous » page 2 of 121 qui émerge dans l’immédiat de l’expérience. Cette communication interrogera le statut changeant du « nous » dans ce poème à la lumière des idées poético-politiques de Rancière, qui sont, selon l’aveu de l’auteur, inspirées la notion baudelairienne d’ « hypocrite lecteur ». Emily Adams, University of Pennsylvania “Le quartier Notre-Dame-de-Lorette descend!”: The lorette and the Popular Invasion of the Arts In this paper, I argue that claims that the social type of the lorette figured anxieties surrounding the bourgeoisie’s rise to cultural and economic dominance tell only part of her story: portraits of the lorette reflect just as powerful of anxieties related to a threatened increase in the power and influence of popular classes. Evidence of these anxieties, hiding in plain sight in the portraits and physiologies written by Alhoy, Dumas père and Gautier, in Gavarni’s images, and in popular literature, provides a crucial piece in our understanding of the role of the lorette in the mythology of the modern artist. The lorette did not materialize fully-formed to inhabit the “new” bourgeois spaces that were constructed to service a new bourgeois social order; she carries with her the mark of her origin, a prehistory that shaped and gives new meaning to her aggressive interactions with mid-nineteenth-century Parisian society. Concerns over a popular invasion of the aesthetic sphere comes at a time of both general anxiety and genuine fascination around the popular, working classes in Paris, ranging from critics hoping to control, contain and eliminate nefarious influence of these populations, to thinkers who, recognizing their positive potential, undertook the project of their salvation, or even the salvation of the whole of French society through them. I analyze the lorette’s alternative genesis – her obscure birth to working-class or poor provincial nobodies, her half-baked education and her dabbling in pseudo-artistic endeavors – which serves as a prelude to her astonishingly successful invasion of a world off-limits to her progenitors. Recontextualizing the lorette’s cultural arrival, I show just why her invasion held revolutionary potential and thus shed on the lorette’s principle function within broader mythology of the modern artist. Edward J. Ahearn, Brown University Pas un Polar: Justice, Histoire, Fiction dans Une ténébreuse affaire Cette Scène de la vie politique est littéralement in-évitable dans ce colloque. De jeunes nobles participent aux complots contre Napoléon au moment de la transition entre Consulat et Empire. Encouragés par la sublime Laurence de Cinq-Cygne avec la collaboration de Michu, homme de '93 mais qui sert "la justice de Dieu" contre l'injustice humaine incarnée dans la personne de Malin, devenu comte de Gondreville et sénateur, ils sont d'abord graciés, puis condamnés. Michu, "noble victime," est exécuté. Histoire socio-politique donc, poursuivant de façon nonpareille les thèmes de la justice et de la police. Le narrateur accomplit "le devoir d'un historien" contre "un complet oubli des faits antérieurs les plus graves." La Justice, après la religion et la royauté la "plus grande machine des sociétés," est présentée avec une incroyable accumulation de détails dans La justice sous le code de Brumaire an IV et dans la dernière partie, Un Procès Politique Sous l'Empire. "Personne aujourd'hui, si ce n'est quelques vieux magistrats, ne se rappelle…" Procédure judiciaire profondément injuste, grâce au (faux) enlèvement de Gondreville, après quoi la Société retourne page 3 of 121 à "ses intérêts dévorants." Quant à la police, le narrateur pose des questions essentielles sur "ces hommes de génie…si bas quand ils pouvaient être si haut?" "Est-on homme de police comme on est penseur, écrivain, homme d'Etat…à la condition de ne savoir faire qu'espionner…?" Même opposition entre les titres Les chagrins de la police et Revanche de Corentin. Dernière question: complications—même échec?—dans cette fusion d'histoire et de fiction: le faux enlèvement basé sur un évènement historique; Laurence de Cinq-Cygne, mélange d'un personnage de Walter Scott et de Charlotte Corday, qui demande grâce à Napoléon dans son bivouac la veille de la victoire d'Iéna (!); mystères et confusions dans le dernier chapitre, Les ténèbres dissipées: qui est celui qui les raconte et essaie de les expliquer? Kate Aid, University of Pennsylvania “Trop d'exotisme!”: Colonial Objects in the House of Decadence Male authors writing decadent French fiction at the end of the nineteenth century broke generic and social codes to emphasize artifice and neurosis over naturalism and bourgeois morality. Melanie Hawthorne, Janet Beizer, and Rachel Mesch have pointed out that Rachilde, a woman who simultaneously authored decadent tropes and claimed to be a product of decadence's preferred pathologies, broke the unruly rules of her fellow authors. The difficulty of categorizing Rachilde's relationship to her strong female characters and to the non-normative genders and sexualities in her novels has led some scholars to identify her double rule-breaking as queer disorder. In La Jongleuse (1900), autoeroticism, 'perverse' chastity, voyeurism, improvised erotic lexicons, and personalized pornography do queerly break heteronormative orders of social station, marriage, and procreation. However, I argue that in this novel decadence emerges not only from generic chaos, but from the self-conscious deployment of excessive exoticism. The novel's sexual deviations arise in the house where Éliante Donalger, créole widow of a French naval captain, cohabitates with the collected riches of empire. Her erotic history and desires emerge through the presence of an ancient Tunisian vase of suggestively human silhouette, erotic Chinese figurines refashioned in wax to resemble Éliante, and the memory of her Martinican maid's contributions to her love letters. This colonial order of people, objects, and trade corrupts normative romance tropes and enables non-normative sexual practices. While it is tempting to recover and recuperate Rachilde's novels as queer literature and theory, we must also consider the racist and colonialist foundations of their queerness. This paper will situate La Jongleuse within the context of colonial markets and circulation. How can the colonial order of the decadent home lead us to a postcolonial reading of decadence, and help to consider this genre's relationship to the fin-de-siècle state of the French empire? Arcana Albright, Albright College Glorious Bastard? Law, Order and Ethics in Maupassant’s Pierre et Jean Maupassant’s Pierre et Jean is more than a psychological thriller, though it has almost exclusively been considered under this light.
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