DOCSLIB.ORG

Fashion, Fiction, and Femininity in Second Empire France

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fashion, Fiction, and Femininity in Second Empire France University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 Designing Women: Fashion, Fiction, and Femininity in Second Empire France Sara Frances Phenix University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Other Languages, Societies, and Cultures Commons, and the Women's Studies Commons Recommended Citation Phenix, Sara Frances, "Designing Women: Fashion, Fiction, and Femininity in Second Empire France" (2013). Publicly Accessible Penn Dissertations. 911. https://repository.upenn.edu/edissertations/911 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/911 For more information, please contact [email protected]. Designing Women: Fashion, Fiction, and Femininity in Second Empire France Abstract This dissertation explores the role of fashion and fashion journal discourse in some of the most widely read French novels of the nineteenth century: Gustave Flaubert's Madame Bovary (1857), Ã?mile Zola's La Curée (1871), and Edmond de Goncourt's Chérie (1884). As access to popular styles and fashion magazines became increasingly democratized over the course of the nineteenth century, Second Empire Paris, with its new public parks, cafés, and amusements, became the locus of an unprecedentedly visual culture. Though fashion has often been considered a feminine frivolity in scholarly circles, I argue for its importance in the Second Empire as economic engine, powerful political tool, and visual signifier of social status. The rising significance of fashion in nineteenth-century French cultural life is paralleled by an increased interest in la mode in male-authored realist and naturalist texts. In the decline and dissolution of their respective heroines, I explore how Flaubert, Zola, and Goncourt thematize and problematize the kind of gaze that fashion elicits. Using theorists like Jean Baudrillard, Laura Mulvey, and Anne Higonnet, I examine how Flaubert, Zola, and Goncourt use tropes of vision to show that their protagonists' fixed focus on fashion blinds them to their exploitation by that very pursuit. I argue that Flaubert and Zola both use the discourse of fashion to expose the futility of the fantasy of social ascension and sexual liberty present in Emma and Renée. I also show how Goncourt uses female documents--letters, diaries, and fashion journals--in Chérie to construct, and ultimately to undercut, his stated aim of scientifically depicting the peripeteia of rF ench girl- and young womanhood. As the moral degradation of Emma, Renée, and Chérie is manifest in their increasingly elaborate ensembles, their common obsession with fashion, in one way or another, precipitates their downfalls and eventual deaths. The respective ruins of Emma, Renée, and Chérie represent the authors' critique not only of unbridled feminine consumption, but also of the political and cultural forces driving their protagonists' desires. Degree Type Dissertation Degree Name Doctor of Philosophy (PhD) Graduate Group Romance Languages First Advisor Andrea R. Goulet Second Advisor Maurice A. Samuels Keywords Fashion, French literature, Realism Subject Categories Other Languages, Societies, and Cultures | Women's Studies This dissertation is available at ScholarlyCommons: https://repository.upenn.edu/edissertations/911 DESIGNING WOMEN: FASHION, FICTION, AND FEMININITY IN SECOND EMPIRE FRANCE Sara Phenix A DISSERTATION in French For the Graduate Group in Romance Languages Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2013 Supervisor of Dissertation ______________ Andrea Goulet, Associate Professor of French Graduate Group Chairperson _________________ Kevin Brownlee, Professor of French Dissertation Committee Gerald Prince, Professor of French Maurice Samuels, Professor of French DESIGNING WOMEN: FASHION, FICTION, AND FEMININITY IN SECOND EMPIRE FRANCE COPYRIGHT 2013 Sara Frances Phenix This work is licensed under the Creative Commons Attribution- NonCommercial-ShareAlike 3.0 License To view a copy of this license, visit http://creativecommons.org/licenses/by-ny-sa/2.0/ iii To CMP & TMP iv ACKNOWLEDGMENTS I have been exceptionally fortunate to have the support of a remarkable group of people and institutions over the course of this project. I am profoundly indebted to my adviser, Maurice Samuels, for his patient and expert guidance throughout the entire dissertation process. His seminar on Realism and Naturalism was the original inspiration for this project, and I am a much better scholar and cultural historian of nineteenth-century France because of his mentorship. I am very grateful to my committee members, Andrea Goulet and Gerald Prince, for their kindness, encouragement, and first-rate readings of my work. Their invaluable input at various stages of the writing process helped me craft a more coherent and meaningful project. I am also grateful to the Queens of Fashion -- Caroline Weber and Marie Antoinette -- for introducing me to the world of inscrutable facts and all things à la mode. Bryan Cameron, Ian McConnon, Elizabeth McCartney, and Mélanie Péron provided invaluable support and suggestions along the way, and I am truly fortunate to call them friends. I am also thankful for generous gifts of funding, resources, and time from the faculty and staff of the Department of Romance Languages. Finally, to my family: this project would have never been completed without their indefatigable enthusiasm and encouragement. This dissertation is just as much their accomplishment as it is mine. v ABSTRACT DESIGNING WOMEN: FASHION, FICTION, AND FEMININITY IN SECOND EMPIRE FRANCE Sara Phenix Andrea Goulet This dissertation explores the role of fashion and fashion journal discourse in some of the most widely read French novels of the nineteenth century: Gustave Flaubert’s Madame Bovary (1857), Émile Zola’s La Curée (1871), and Edmond de Goncourt’s Chérie (1884). As access to popular styles and fashion magazines became increasingly democratized over the course of the nineteenth century, Second Empire Paris, with its new public parks, cafés, and amusements, became the locus of an unprecedentedly visual culture. Though fashion has often been considered a feminine frivolity in scholarly circles, I argue for its importance in the Second Empire as economic engine, powerful political tool, and visual signifier of social status. The rising significance of fashion in nineteenth-century French cultural life is paralleled by an increased interest in la mode in male-authored realist and naturalist texts. In the decline and dissolution of their respective heroines, I explore how Flaubert, Zola, and Goncourt thematize and problematize the kind of gaze that fashion elicits. Using theorists like Jean Baudrillard, Laura Mulvey, and Anne Higonnet, I examine how Flaubert, Zola, and Goncourt use tropes of vision to show that their protagonists’ fixed focus on fashion blinds them to their exploitation by that very pursuit. I argue that Flaubert and Zola both use the discourse of fashion to vi expose the futility of the fantasy of social ascension and sexual liberty present in Emma and Renée. I also show how Goncourt uses female documents—letters, diaries, and fashion journals—in Chérie to construct, and ultimately to undercut, his stated aim of scientifically depicting the peripeteia of French girl- and young womanhood. As the moral degradation of Emma, Renée, and Chérie is manifest in their increasingly elaborate ensembles, their common obsession with fashion, in one way or another, precipitates their downfalls and eventual deaths. The respective ruins of Emma, Renée, and Chérie represent the authors’ critique not only of unbridled feminine consumption, but also of the political and cultural forces driving their protagonists’ desires. vii TABLE OF CONTENTS DEDICATION iii ACKNOWLEDGMENTS iv ABSTRACT v CHAPTER ONE 1 “The Sartorial Imagination of the Second Empire” CHAPTER TWO 33 “Dubious Distinction: Flaubert’s Revolution in Style” CHAPTER THREE 89 “Empire Wastes: Fashion and Fractured Femininity in La Curée” CHAPTER FOUR 137 “Dressed to Kill: Fashion and Female Writing in Chérie” CHAPTER FIVE 171 “Fashion Victims” BIBLIOGRAPHY 175 1 CHAPTER ONE The Sartorial Imagination of the Second Empire “L’être qui ne vient pas souvent à Paris ne sera jamais complètement élégant.”1 In one of his famous 1855 caricatures, Honoré Daumier depicts a scene typical of Second Empire Paris: the setting is a public park; the foreground is crowded with three crinoline-wearing women, depicted in profile; the background is populated with more soberly dressed men, also shown in profile. The women’s exaggerated facial features reflect the grotesque dimensions of their garments. “Ce ne sont plus des femmes,” the caption reads, “ce sont des ballons.” With just a few lines, Daumier’s lithograph captures so many of the facets of fashion’s role in the social life of Second Empire France. The setting of the sketch reveals the popularity of the public spaces newly created by Haussmann’s renovations. The foregrounding of the female figures in the frame visually represents the relative importance of women in the social practice of fashion. Economically, the women’s clothing industry became an important engine for growth as France successfully exported its trends across the globe while solidifying Paris’ place as the capital of female fashion. The focus on women’s
Load more

Recommended publications
  • University of Florida Thesis Or Dissertation Formatting
    THE TELEVISED SOUTH: AN ANALYSIS OF THE DOMINANT READINGS OF SELECT PRIME-TIME PROGRAMS FROM THE REGION By COLIN PATRICK KEARNEY A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2020 © 2020 Colin P. Kearney To my family ACKNOWLEDGMENTS A Doctor of Philosophy signals another rite of passage in a career of educational learning. With that thought in mind, I must first thank the individuals who made this rite possible. Over the past 23 years, I have been most fortunate to be a student of the following teachers: Lori Hocker, Linda Franke, Dandridge Penick, Vickie Hickman, Amy Henson, Karen Hull, Sonya Cauley, Eileen Head, Anice Machado, Teresa Torrence, Rosemary Powell, Becky Hill, Nellie Reynolds, Mike Gibson, Jane Mortenson, Nancy Badertscher, Susan Harvey, Julie Lipscomb, Linda Wood, Kim Pollock, Elizabeth Hellmuth, Vicki Black, Jeff Melton, Daniel DeVier, Rusty Ford, Bryan Tolley, Jennifer Hall, Casey Wineman, Elaine Shanks, Paulette Morant, Cat Tobin, Brian Freeland, Cindy Jones, Lee McLaughlin, Phyllis Parker, Sue Seaman, Amanda Evans, David Smith, Greer Stene, Davina Copsy, Brian Baker, Laura Shull, Elizabeth Ramsey, Joann Blouin, Linda Fort, Judah Brownstein, Beth Lollis, Dennis Moore, Nathan Unroe, Bob Csongei, Troy Bogino, Christine Haynes, Rebecca Scales, Robert Sims, Ian Ward, Emily Watson-Adams, Marek Sojka, Paula Nadler, Marlene Cohen, Sheryl Friedley, James Gardner, Peter Becker, Rebecca Ericsson,
    [Show full text]
  • The Fashion Runway Through a Critical Race Theory Lens
    THE FASHION RUNWAY THROUGH A CRITICAL RACE THEORY LENS A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Sophia Adodo March, 2016 Thesis written by Sophia Adodo B.A., Texas Woman’s University, 2011 M.A., Kent State University, 2016 Approved by ___________________________________________________________ Dr. Tameka Ellington, Thesis Supervisor ___________________________________________________________ Dr. Kim Hahn, Thesis Supervisor ___________________________________________________________ Dr. Amoaba Gooden, Committee Member ___________________________________________________________ Dr. Catherine Amoroso Leslie, Graduate Studies Coordinator, The Fashion School ___________________________________________________________ Dr. Linda Hoeptner Poling, Graduate Studies Coordinator, The School of Art ___________________________________________________________ Mr. J.R. Campbell, Director, The Fashion School ___________________________________________________________ Dr. Christine Havice, Director, The School of Art ___________________________________________________________ Dr. John Crawford-Spinelli, Dean, College of the Arts TABLE OF CONTENTS Page LIST OF FIGURES ....................................................................................................................... iv ACKNOWLEDGEMENTS ........................................................................................................... iii CHAPTER I. INTRODUCTION ..................................................................................................................
    [Show full text]
  • Textiles ___&Mode Ancienne
    Thierry de MAIGRET Commissaire -Priseur ____ TEXTILES ____ & MODE ANCIENNE Mardi 14 novembre 2017 à 11 h et 14 h VENTE AUX ENCHÈRES PUBLIQUES Rare documentation d’Histoire de la Mode entre 1900 et 1940 : le Journal des Dames et des Modes de 1912 et les Robes de Paul Poiret vues par Paul Iribe Broderies et soieries des XVIIe au XIXe siècles tissées sur métier à bras dont un grand métrage de velours « Tigre » de la Manufacture Le Manach Collection de Textiles Ethniques de Marine Biras Tissages d’Afrique sub-saharienne, Amérique du Sud, Inde, Asie du Sud-Est et Chine Dentelles anciennes dont un exceptionnel ensemble d’accessoires du costume à la cour de Louis XIV avec un col et un rabat de cravate en Point de France Linge de table de la Maison Jeanne Lanvin à la fin des années 20 Couture Belle Époque et Mode : garde-robe de la Comtesse de ... Modèles des Sœurs Kerteux, Marie Callot-Gerber, Drecoll, Liberty, Lanvin, J. Heim… Hôtel Drouot - Salle 15 Exposition publique 9, rue Drouot - 75009 Paris Lundi 13 novembre 2017 de 11 h à 18 h Tél. pendant l’exposition : Expert +33 (0)1 48 00 20 15 Séverine EXPERTON-DARD [email protected] - +33 6 80 65 12 18 Vente à 11 h : lots 1 à 89 HISTOIRE DE LA MODE 4 2 9 5 3 1. CHIFFONS, juin 1932. Nombreuses illustrations sous 4. Réunion de 30 parutions de MODES ET TRAVAUX couverture illustrée en couleurs. Modèles de Patou entre 1932-1946 : numéros de janvier et 1er novembre Vionnet, Chanel, Lanvin, Molyneux, Worth, Louise 1932 / juillet et 15 aout 1933 / 15 avril et 15 mars 1934 / Boulanger, Premet..
    [Show full text]
  • Resimol Ported Aa Doing Well Vesterday
    TITE MORNING OREGOXIAN. SATURDAY, AUGUST 21, 1915. 3 LATEST VESSEL TORPEDOED BY GERMANS AND ANOTHER ONE FOR WHICH FEARS ARE FELT. TWO AMERICANS a ; 3B Afat antf Telephone Orders Filled by Expert Shoppers $1.00 and $1.50 LIST OF LOST Large Shirts 59c Sizes 16'2. 17. 17'2 "Merchan dise.cf Mertt only. Extra quality shirts, f c tj .OnT of madras and percale, Total Missing From Arabic yy I ! Pacific Phone Marshall 5000 Home Phone A 6691 pleated and plain bosoms. y r. Plain white, fancy stripes Mow Estimated at 25 Out and figures. of Total of 181. Final Cleanup of All Our Medium Weight $2.50 Union yx k Ik .u Suits, Sale $1.9o 0mm. Fine grade silk lisle, in '"-- h well-know- n make. Form- -' " " " FEAR FOR LAPLAND FELT -- vr-- .:.. Selling Regularly at $8.50, fitting, short sleeves, an- kle length, closed crotch. ' .ij.se.ii.:.t7.-:r- ., - ' ' - 'i:-r-; ,.v- -r $10, $12.50, and $15.00 Shown in blue and flesh BotIc. Early Reported Torpedoed, I Your Choice Saturday color. fcald to B Safe Xew York City 50c Silk Lisle at- -- - OOC Deotrojed. bat Captain and WW. TM - vseT; rrm'rrTTT-r T'"f,?S. Sox, Sale Crew of 33 Are Landed. L" Three pairs, $1.00. Full fashioned, extra re- Some With Extra Pair Trousers inforced heels, toes, soles. These suits are desirable for early Fall In gray, tan, royal, pur- tinges' Trmvm ttret pas f'aa wear. Of tweeds, homespuns, tartans, diag- ple and navy. All sizes. tear line A rumor mat ah, too.
    [Show full text]
  • Reading Print Ads for Designer Children's Clothing
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Communication Graduate Student Publication Communication Series October 2009 The mother’s gaze and the model child: Reading print ads for designer children’s clothing Chris Boulton UMass, Amherst, [email protected] Follow this and additional works at: https://scholarworks.umass.edu/communication_grads_pubs Part of the Communication Commons Boulton, Chris, "The mother’s gaze and the model child: Reading print ads for designer children’s clothing" (2009). Advertising & Society Review. 5. Retrieved from https://scholarworks.umass.edu/communication_grads_pubs/5 This Article is brought to you for free and open access by the Communication at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Communication Graduate Student Publication Series by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. ABSTRACT This audience analysis considers how two groups of mothers, one affluent and mostly white and the other low-income and mostly of color, responded to six print ads for designer children’s clothing. I argue that the gender and maternal affiliations of these women—which coalesce around their common experience of the male gaze and a belief that children’s clothing represents the embodied tastes of the mother—are ultimately overwhelmed by distinct attitudes towards conspicuous consumption, in-group/out-group signals, and even facial expressions. I conclude that, when judging the ads, these mothers engage in a vicarious process referencing their own daily practice of social interaction. In other words, they are auditioning the gaze through which others will view their own children. KEY WORDS advertising, fashion, race, mothers, children BIO Chris Boulton is a doctoral student in Communication at the University of Massachusetts, Amherst.
    [Show full text]
  • Blacks Reveal TV Loyalty
    Page 1 1 of 1 DOCUMENT Advertising Age November 18, 1991 Blacks reveal TV loyalty SECTION: MEDIA; Media Works; Tracking Shares; Pg. 28 LENGTH: 537 words While overall ratings for the Big 3 networks continue to decline, a BBDO Worldwide analysis of data from Nielsen Media Research shows that blacks in the U.S. are watching network TV in record numbers. "Television Viewing Among Blacks" shows that TV viewing within black households is 48% higher than all other households. In 1990, black households viewed an average 69.8 hours of TV a week. Non-black households watched an average 47.1 hours. The three highest-rated prime-time series among black audiences are "A Different World," "The Cosby Show" and "Fresh Prince of Bel Air," Nielsen said. All are on NBC and all feature blacks. "Advertisers and marketers are mainly concerned with age and income, and not race," said Doug Alligood, VP-special markets at BBDO, New York. "Advertisers and marketers target shows that have a broader appeal and can generate a large viewing audience." Mr. Alligood said this can have significant implications for general-market advertisers that also need to reach blacks. "If you are running a general ad campaign, you will underdeliver black consumers," he said. "If you can offset that delivery with those shows that they watch heavily, you will get a small composition vs. the overall audience." Hit shows -- such as ABC's "Roseanne" and CBS' "Murphy Brown" and "Designing Women" -- had lower ratings with black audiences than with the general population because "there is very little recognition that blacks exist" in those shows.
    [Show full text]
  • Z Dziejów Bowaryzmu We Francji
    ACTA UNIVERSITATIS LODZIENSIS Folia Litteraria Polonica 3(49) 2018 http://dx.doi.org/10.18778/1505-9057.49.02 Anita Staroń* Z dziejów bowaryzmu we Francji Historia pojęcia „bowaryzm” zaczyna się zaraz po opublikowaniu powieści Flau- berta. Jego znaczenie podlegało jednak istotnej ewolucji. Pierwsze użycie – w nieco odmiennej formie1 – dotyczyło zwolenników śmiałej obyczajowo Pani Bovary, któ- rzy stanęli w jej obronie podczas słynnego procesu z 1857 roku. Utwór był wówczas obszernie komentowany w prasie, a i w kolejnych latach zainteresowanie nim nie słabło. W 1860 roku Gustave Merlet poświęcił mu długi tekst, pełen zastrzeżeń dotyczących „sztuki i moralności”. W zakończeniu artykułu pojawia się pierwszy raz termin „bowaryzm”, mający określać niewłaściwie pojmowany realizm: …ten zaś realizm, który zabija wymowę i poezję utworu, w człowieku widzi tylko dzikusa, pozbywa się duszy i serca, pragnie się nam przypodobać smakiem wypa- czonym, zohydza twórczość i społeczeństwo udając, że nie znajduje w nich nic prócz brzydoty fizycznej i moralnej – ten więc realizm proponuję zwać odtąd bowaryzmem2. Propozycja nie przyjęła się, jednak termin pozostał. Pięć lat później Jules Bar- bey d’Aurevilly użył go w znaczeniu bliższym współczesnemu, pisząc o bohater- ce pewnej powieści, że „stacza się coraz niżej, aż wreszcie osiąga stan absolutne- go bowaryzmu”3. Prawdziwa kariera słowa rozpoczęła się wszelako pod koniec XIX wieku, pod piórem krytyka i filozofa Julesa de Gaultiera. Uczynił on z bowa- ryzmu sedno swojej koncepcji współczesnego człowieka, szerzej – nowoczesnego społeczeństwa. Jego pierwszy esej z 1892 roku, Le Bovarysme. La psychologie dans * Dr hab., prof. UŁ, Uniwersytet Łódzki, Instytut Romanistyki, Zakład Literaturoznawstwa Ro- mańskiego, ul. Pomorska 171/173, 90-236 Łódź, e-mail: [email protected] 1 Mówiło się wtedy o „bowarystach” (les bovaristes); podobno termin ukuł sam Flaubert.
    [Show full text]
  • 3 July 2019 Royal Holloway, University of London
    60th Annual Conference 1 - 3 July 2019 Royal Holloway, University of London Welcome and acknowledgments On behalf of the Society for French Studies, I am delighted to welcome all of you to our Annual Conference, this year hosted by Royal Holloway, University of London. Today's Royal Holloway is formed from two colleges, founded by two social pioneers, Elizabeth Jesser Reid and Thomas Holloway. We might note with some pleasure that they were among the first places in Britain where women could access higher education. Bedford College, in London, opened its doors in 1849, and Royal Holloway College's stunning Founder's Building was unveiled by Queen Victoria in 1886 – it’s still the focal point of the campus, and we shall gather there for a reception on Tuesday evening. In 1900, the colleges became part of the University of London and in 1985 they merged to form what is now known as Royal Holloway. We hope that this year’s offerings celebrate the full range of French Studies, and pay tribute to the contribution that is made more widely to Arts and Humanities research by the community of students and scholars who make up our discipline. We are especially pleased to welcome delegates attending the Society’s conference for the first time, as well as the many postgraduate students who will be offering papers and posters and colleagues from around the world. We are very excited to be welcoming the following keynote speakers to this year's conference: Kate Conley (Dean of the Faculty of Arts & Sciences, Professor of French and Francophone Studies, William and Mary); David McCallam (Reader in French Eighteenth-Century Studies, University of Sheffield); Pap NDiaye (Professeur des universités à l'Institut d'études politiques de Paris, Histoire nord-américaine, Sciences-Po); and Mairéad Hanrahan (Professor of French, University College London and former President of SFS).
    [Show full text]
  • Language and Option Courses in FRENCH 2012-13 for Details of Option Courses, Click on the Title to Read the Course Specificati
    Language and Option Courses in FRENCH 2012-13 For details of option courses, click on the title to read the course specification document First Year FR1001 Pratique de l’écrit: analyser et argumenter FR1002 Pratique de l’oral : La France contemporaine à travers son cinéma FR1004 Translating from and into French FR1104 Perspectives on Modern France: Crisis, Nation, Identity FR1105 The Visual Image in French Culture and Society FR1110 Introduction to French Literature: A Taster Course FR1107 Language, Communication and Society FR1111 Introduction to French Literature: Critical Skills Second Year FR2001 Pratique de l’écrit: analyser et argumenter FR2002 Pratique de l’oral : La France contemporaine à travers son cinéma FR2004 Translating from and into French CORE FOR SINGLE AND MAJOR FR2102 Writing Romance and Desire FR2104 Culture and Ideology: La France et la Francophonie FR2105 Stage and Screen in France FR2106 Cinema in France Final Year FR3001 Pratique de l’écrit: communiquer et convaincre FR3002 Pratique de l’oral: réflexions et débats FR3003 Advanced Translating Skills FR3102 Arthurian Romance: Chrétien de Troyes FR3108 Repression and Rebellion: The Father and the Father’s Law FR3109 Gender and Transgression in Early-Modern French Literature FR3111 Fictions of History: Narrative, Film and Event in Early Modern France FR3112 Image, Identity and Consumer Culture in Post-war Fiction and Film FR3113 Text and Image in France: from Cubism to the Present FR3114 Ethics and Violence: Murder, Suicide and Genocide in Literature and Film FR3115 Marcel Proust’s A la recherche du temps perdu FR3117 The Passion of Place: Desire and Identity in Modern Paris FR3120 Wanton Women: artists and writers of the French avant-garde FR3121 Montaigne Then and Now FR3119 Dissertation The information contained in this course outlines is correct at the time of publication, but may be subject to change as part of the School’s policy of continuous improvement and development.
    [Show full text]
  • L'exemple De Gemma Bovery De Posy Simmonds
    Synergies Espagne n° 14 - 2021 p. 25-41 GERFLINTGERFLINT Adapter l’ironie flaubertienne : l’exemple ISSN 1961-9359 de Gemma Bovery de Posy Simmonds ISSN en ligne 2260-6513 Marina Isabel Caballero Muñoz Université de Séville, Espagne [email protected] https://orcid.org/0000-0002-7680-3534 Reçu le 04-11-2020 / Évalué le 12-12-2020 / Accepté le 17-03-2021 Résumé Gustave Flaubert a refusé d’illustrer ses livres tout au long de sa vie ; une attitude qui contraste, paradoxalement, avec les nombreuses occasions où ses œuvres ont été adaptées aux formats graphiques et cinématographiques. Dans l’univers de la narration graphique, nous trouvons Gemma Bovery (2014) de Posy Simmonds, actuel- lement le seul roman graphique inspiré du chef-d’œuvre Madame Bovary (1857) de Gustave Flaubert. L’objectif du présent article est d’étudier l’ironie flaubertienne comme source de l’humour de Posy Simmonds dans Gemma Bovery (2014). D’abord, nous contextualiserons notre étude dans le domaine des adaptations, de la bande dessinée et du roman graphique à partir des ouvrages et des auteurs clés. Ensuite, dans une partie méthodologique, nous essayerons de définir brièvement le concept d’ironie ainsi que les différents concepts qui peuvent la déclencher dans un texte littéraire. Finalement, dans l’analyse proposée, nous étudierons la présence de l’ironie flaubertienne de la forme au contenu de ce roman graphique, afin d’observer également son originalité. Mots-clés : Adaptation, roman graphique, Posy Simmonds, Gemma Bovery, Madame Bovary Adaptar la ironía flaubertiana: el ejemplo de Gemma Bovery de Posy Simmonds Resumen Gustave Flaubert rechazó ilustrar sus libros durante toda su vida.
    [Show full text]
  • Circulation and Permanence of French Naturalist Literature in Brazil
    Circulation and Permanence of French Naturalist Literature in Brazil Pedro Paulo GARCIA FERREIRA CATHARINA Federal University of Rio de Janeiro RÉSUMÉ Cet article se propose de retracer la présence de la littérature naturaliste française au Brésil à partir de la seconde moitié du XIXe siècle jusqu’en 1914, en mettant en relief son importance et sa diversité dans le champ littéraire brésilien ainsi que sa permanence à travers l’association avec d’autres formes d’art, notamment le théâtre et le cinéma. À l’appui, il présente des données qui témoignent de la circulation dans le pays des œuvres des principaux écrivains naturalistes français le long de cette période et de l’existence d’un public varié de lecteurs. Enfin, il montre comment ces écrivains naturalistes devenus des célébrités ont pu exercer leur emprise au- delà de la sphère littéraire proprement dite, surtout sur la mode et les coutumes The reader, who on 10 January 1884 thumbed through a copy of the newspaper Gazeta de notícias from Rio de Janeiro, could find on page two an announcement about a curious fashion item – the literary bracelet. The object that was “to cause an uproar among wealthy women” comprised twelve gold coins inserted into two chains containing, on the back, the name of the owner’s favourite authors. The decorative item was a “kind of confession” of the wearer’s literary preferences: […] For example, the ladies who favour naturalist literature will carry the names of Zola, Goncourt, Maupassant, Eça de Queirós, Aluísio Azevedo, etc. The ladies who are more inclined to the romantic school will adopt on their bracelets the names of Rousseau, Byron, Musset, Garret, Macedo, etc.
    [Show full text]
  • THE POLITICAL ECONOMY of the DEAD: MARX's VAMPIRES Mark
    THE POLITICAL ECONOMY OF THE DEAD: MARX’S VAMPIRES Mark Neocleous1 Abstract: This article aims to show the importance of the vampire metaphor to Marx’s work. In so doing, it challenges previous attempts to explain Marx’s use of the metaphor with reference to literary style, nineteenth-century gothic or Enlightenment rationalism. Instead, the article accepts the widespread view linking the vampire to capital, but argues that Marx’s specific use of this link can be properly understood only in the context of his critique of political economy and, in particular, the political econ- omy of the dead. Towards the end of Volume 1 of Capital, Marx employs one of his usual dra- matic and rhetorical devices: ‘If money comes into the world with a congeni- tal blood-stain on one cheek,’ he says, then ‘capital comes dripping from head to toe, from every pore, with blood and dirt’.2 The comment is a reminder of the extent to which the theme of blood and horror runs through the pages of Capital. According to Stanley Hyman, there are in Capital two forms of horror. The first concerns the bloody legislation against vagabond- age, describing the way that agricultural peoples were driven from their homes, turned into vagabonds and then ‘whipped, branded, tortured by laws grotesquely terrible, into the discipline necessary for the wage system’. The second concerns the horrors experienced by people in the colonies, ‘the extirpation, enslavement and entombment in mines of the aboriginal popula- tion...theturning of Africa into a warren for the commercial hunting of black skins’.3 But to these we might add a third form of horror: the constant sucking of the blood of the Western working class by the bourgeois class.
    [Show full text]