DOCSLIB.ORG

Die Déjeuner-Malerei Von Edouard Manet, Claude Monet Und Pierre-Auguste Renoir

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Die Déjeuner-Malerei Von Edouard Manet, Claude Monet Und Pierre-Auguste Renoir DIE DÉJEUNER-MALEREI VON EDOUARD MANET, CLAUDE MONET UND PIERRE-AUGUSTE RENOIR. UNTERSUCHUNG ZUR DARSTELLUNG VON MAHLZEITEN IN DER ZEIT DES FRANZÖSISCHEN IMPRESSIONISMUS Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Albert-Ludwigs-Universität Freiburg i. Br. vorgelegt von Beatrix Ahrens aus Ludwigshafen am Rhein SS 2006 Erstgutachter: Prof. Dr. Andreas Prater Zweitgutachter: Prof. Dr. Angeli Janhsen Vorsitzender des Promotionsausschusses der Gemeinsamen Kommission der Philologischen, Philosophischen und Wirtschafts- und Verhaltenswissenschaftlichen Fakultät: Prof. Dr. Heinrich Anz Datum der Fachprüfung im Promotionsfach: 31.10.2006 Dank Ich danke insbesondere Professor Dr. Andreas Prater für die Annahme und dreijährige Be- treuung dieser Dissertation. Bei Frau Professor Dr. Angeli Janhsen möchte ich mich für die Übernahme der Zweitkorrektur bedanken. Besonderen Dank gilt auch den Professoren Dr. Joseph Jurt und Dr. Gottfried Boehm, die weiterführende Anregungen gaben. Schließlich danke ich Professor Dr. Raphael Rosenberg, der mich in der Vorbereitungsphase unterstützte. Der Kontakt zu verschiedenen Institutionen und Museen war für den Erfolg dieser Arbeit Voraussetzung. Für eine wertvolle Zusammenarbeit danke ich Monique Moulène (Dé- partement des Estampes et de la Photographie), Bibliothèque nationale de France, Paris; Dominique Lobstein (Chargé d’Études Documentaires), Musée d’Orsay, Paris; Eszter Orbán (Assistant to the Communication Director), Magyar Nemzetí Galéria, Budapest, Brigitte Donon (Responsable de la Documentation Département des Arts graphiques), Louvre, Paris, Dr. Herbert W. Rott (Konservator), Neue Pinakothek, Bayerische Staatsgemäldesammlungen, München, Craig Hartley (Senior Assistant Keeper of Prints), Fitzwilliam Museum, Cam- bridge. Eine intensive Unterstützung erfuhr ich außerdem durch die beiden Kunsthistorikerinnen und Impressionismus-Expertinnen Dr. Andrea Dippel (München) und Dr. Anna Szinyei Merse (Budapest). Für Hinweise und Korrekturvorschläge danke ich ganz besonders meinen Freunden Esther Hugo (M.A.), Jessica Heyser (M.A.), Katja Petzold (M.A.), Claudia Manns (M.A.), Claudia Groß (M.A.), Anna Charalampidou (M.A.), Anna-Laura de la Iglesia (M.A.) sowie meinen Geschwistern Vera und Dr. Felix Stadtfeld. Meinen Eltern und meinem Mann Dr. med. Ingo Ahrens danke ich herzlich für ihre große Unterstützung während der Promotionszeit, wertvolle Diskussionen sowie eine gemeinsam unternommene Reise auf den Spuren der drei großen Impressionisten nach Paris und Um- gebung. Juni 2007 Beatrix Ahrens Gisela, Frieder und Ingo Inhalt I. Einleitung……………………………………………………….……………....... 1 1. Thema………………………………………………………………….……..........1 2. Forschungsstand……………………………………………………………….…..5 3. Kunstgeschichte versus Kulturgeschichte…………………………………............14 4. Methodik und Gliederung………….……………….……………………….…..... 17 II. Déjeuner-Malerei im Kontext alltäglicher Praktiken und literarischer Diskurse zur gourmandise………………………………………... 24 1. Einfluss des Alltags…………………………………………………………......... 24 1.1. Bürgerliche Küche und Pariser Gastronomie………………………………..…… 24 2. Einfluss der Literatur………………………………………………………….….. 27 2.1. Discours gastronomique………………………………………………………..… 27 2.2. Brillat-Savarins La physiologie du goût………………………………………..… 28 2.3. Balzacs La nouvelle théorie du déjeuner und Le cousin Pons…………………… 30 2.4. Flauberts L’éducation sentimentale und Madame Bovary……………………….. 33 2.5. Zolas Nana und Flauberts Hérodias…………………………............................... 37 2.6. Exkurs zur deutschen Literatur. Thomas Manns Buddenbrooks……………….... 39 3. Historische Bedingungen für den Einfluss von Alltag und Literatur auf die (Déjeuner-)Malerei…………………………………………….. 40 III. Aspekte der Bedeutung und Wahrnehmung impressionistischer Malerei……………………………………………………. 44 1. Raum und Bild…………………………………………………………………… 44 2. Schaffens-, Darstellungs-, Intentions- und Empfindungsraum………………..…. 45 3. Zum Verständnis impressionistischer (Déjeuner-)Malerei………………………. 45 3.1. Schaffensraum…………………………………………………………………..... 46 3.2. Darstellungsraum……………………………………………………………….... 47 3.3. Intentionsraum…………………………………………………………………..... 48 3.4. Empfindungsraum…………………………………………………………….….. 49 IV. Edouard Manet, Le déjeuner sur l’herbe (1863)……………………………..... 51 1. Entstehung………………………………………………………………………... 51 2. Raum und Bild…………………………………………………………................ 53 3. Beschreibung……………………………………………………………………... 54 4. Analyseschritte..………………………………………………………………….. 55 5. Antike griechische sowie biblische Quellen……………………………………… 56 5.1. Urteil des Paris……………………….………………………………...……......... 57 5.2. Auffindung des Moses…………………………………………………………..... 61 6. Profane Bildquellen………………………………………………………………. 63 7. Figur und Landschaft……………………………………………………………... 65 8. Stillleben…………………………………….……………………………………. 70 8.1. Funktion des Picknicks………………………………………………………….... 70 8.2. Darstellung des Picknicks…………………………………………………............ 72 9. Kulturpolitische Hintergründe………………………………………………......... 77 10. Fazit….………………………………………………………………………......... 82 V. Edouard Manet, Le déjeuner dans l’atelier (1868)……………….………......... 84 1. Entstehung………………………………………………………………..………. 84 2. Raum und Bild……………………...…………………………………………….. 85 3. Beschreibung……………………………………………………………………... 86 4. Analyseschritte………………………………………………………………….... 87 5. Biblische sowie antike griechische Quellen…………………………..………….. 89 5.1. Verlorener Sohn………….…………………………………………...……...…… 89 5.2. Odysseus und Telemachos.………………………………………………………. 91 6. Zeitgenössische Aspekte….…………………………………………………........ 93 7. Figur und Raum………….………………………………………………..……… 98 8. Stillleben….………………………………………………………………...……. 101 8.1. Mahlzeit, Waffen und Pflanze……………………………………………...…….. 102 8.2. Funktion der Mahlzeit……………………………………………………...…….. 107 8.2.1. Fünf-Sinne-Darstellung…………………………………………………..….…..... 107 8.2.2. Atelier versus Familie……………………………………………………..……… 108 9. Private Hintergründe……………………………………………………………… 112 10. Fazit……………………………………………………………………………….. 114 VI. Claude Monet, Le déjeuner sur l’herbe (1865)………………..……….….….… 116 1. Entstehung……………………………………………………………….………...116 2. Raum und Bild………………………………………………………….…..…….. 118 3. Beschreibung………………………………………………………….……..….... 119 4. Analyseschritte………………………………………………………….…………120 5. Traditionelle Bezüge……………………………………………………………… 121 6. Figuren der vie moderne……………………………………………….…...…….. 123 7. Erprobung impressionistischer Techniken………………………………….……..128 8. Einfluss des Bildes auf das Picknick-Sujet…..………………………..…..…….... 132 8.1. Berthe Morisot…………………………………………………………..….…...... 134 8.2. Pál Szinyei Merse…………………………………………………………...……. 135 8.3. James Tissot………………………………………………………………………. 137 9. Gesellschaftliche Hintergründe……………………………………………….…...139 10. Fazit…………………………………………………………………………….….143 VII. Claude Monet, Le déjeuner (à Argenteuil) (1873) ……………………………... 145 1. Entstehung………………………………………………………………..………..145 2. Raum und Bild………………………………………………………………….… 146 3. Beschreibung………………………………………………………………........... 147 4. Analyseschritte…………………………………………………………………… 148 5. Traditionelle Bezüge……………………………………………………………... 149 5.1. Biblische und profane Motivik…………………………………………………… 149 6. Pleinair……………………………………………………………………………. 152 6.1 Monets Le déjeuner und Le déjeuner (à Argenteuil)……………………………... 152 7. Figuren und Gegenstände………………………………………………………… 155 8. Einfluss des Bildes auf das Mahlzeitenthema……………………………………. 161 8.1. Berthe Morisot……………………………………………………………………. 162 8.2. Giuseppe de Nittis……………………………………………………………….... 164 9. Soziale Hintergründe……………………………………………………………... 166 10. Fazit………………………………………………………………………………. 169 VIII. Pierre-Auguste Renoir, Le déjeuner des canotiers (1881)……………….…... 171 1. Entstehung…………………………………………………………………..…... 171 2. Raum und Bild………………………………………………………………..… 173 3. Beschreibung………………………………………………………….………... 174 4. Analyseschritte….……………………………………………………….……... 176 5. Freunde und Konkurrenten………………………………………………….…... 177 6. Traditionelle Bezüge……………………………………………………………. 179 6.1. Biblische Motivik…….……………………………………….……………….... 181 6.2. Profane und mythologische Motivik…….………………….…………………... 185 7. Figur und Raum…………………………….…………………………………... 189 8. Funktion und Darstellung der Mahlzeit……….………………………………... 195 9. Hintergründe der Vermarktung…………….…….……………………………... 198 10. Fazit…….……………….………………………….…………………………… 199 IX. Schlusswort…………………………………….…….………………………… 201 X. Verzeichnisse.………………………………………….………………………. 208 1. Bibliographie….…………………………………………….………………….. 208 1.1. Primär- und Sekundärliteratur………….……………………….……………… 208 1.2. Museums- und Ausstellungskataloge…….……………………….……………. 221 2. Abbildungsnachweis……………………….………………………….………… 225 XI. Abbildungen........................................................................................................ 227 I. Einleitung 1. Thema Das Bedürfnis nach Nahrung steht am Anfang des menschlichen Lebens, es ist das erste Ver- langen, das nach der Geburt gestillt werden muss. Die Nahrungsaufnahme, die zunächst im Rahmen der Mutter-Kind-Beziehung erfolgt, ist jedoch nicht nur ein körperliches, sondern auch ein gemeinschaftliches Phänomen. Dieses hat sich im Alltag und im Laufe der ge- schichtlichen Entwicklung durch feste Tischregeln, Essenszeiten und Kommunikationsformen bei Tisch institutionalisiert und sich entsprechend dem jeweiligen Zeitalter und hinsichtlich der Altersstufen, Schichten, Geschlechter und Nationen verändert. Kennzeichen einer Mahl- zeitensituation ist eine durch Verhaltensnormen bestimmte soziale Regulierung. Die Praktiken bei der Einnahme einer Mahlzeit variieren je nach
Load more

Recommended publications
  • Required Reading January 2021 Baumanrarebooks.Com 1-800-97-Bauman (1-800-972-2862) Or 212-751-0011 [email protected]
    Required Reading January 2021 BaumanRareBooks.com 1-800-97-bauman (1-800-972-2862) or 212-751-0011 [email protected] New York 535 Madison Avenue (Between 54th & 55th Streets) New York, NY 10022 800-972-2862 or 212-751-0011 Mon-Fri: 10am to 5pm and by appointment Las Vegas Grand Canal Shoppes The Venetian | The Palazzo 3327 Las Vegas Blvd., South, Suite 2856 Las Vegas, NV 89109 888-982-2862 or 702-948-1617 Mon-Sat: 11am to 7pm; Sun: 12pm to 6pm Philadelphia 1608 Walnut Street Philadelphia, PA 19103 215-546-6466 | (fax) 215-546-9064 by appointment all booKS aRE ShippEd on appRoval and aRE fully guaRantEEd. Any items may be returned within ten days for any reason (please notify us before returning). All reimbursements are limited to original purchase price. We accept all major credit cards. Shipping and insurance charges are additional. Packages will be shipped by UPS or Federal Express unless another carrier is requested. Next-day or second-day air service is available upon request. www.baumanrarebooks.com twitter.com/baumanrarebooks facebook.com/baumanrarebooks On the cover: Item no. 23. On this page: Item no. 25. “The Mother Of The English 19th-Century Novel” 1. AUSTEN, Jane. The Novels. London and New York, 1896-98. Five volumes. Octavo, contemporary three- quarter tan calf gilt. $4800. Click for more info “It is a truth universally Turn-of-the-century set of Austen novels illustrated with splendid line drawings by Hugh Thomson, beautifully acknowledged that a single man bound by Henry Young and Sons of Liverpool.
    [Show full text]
  • A Comparative Study of Gustave Flaubert's Madame Bovary
    A COMPARATIVE STUDY OF GUSTAVE FLAUBERT'S MADAME BOVARY AND EMILE ZOLA'S THERESE-RAQUIN A THESIS SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS BY ALSYLVIA SMITH DEPARTMENT OF FRENCH ATLANTA, GEORGIA JUNE 1969 w TABLE OF CONTENTS Page PREFACE Chapter I. INTRODUCTION 1 II. A CRITICAL ANALYSIS OF MADAME BOVARY 27 III. A CRITICAL ANALYSIS OF THERESE-RAQUIN 56 CONCLUSION 77 BIBLIOGRAPHY 86 ii PREFACE The purpose of this study is to analyze Gustave Flaubert's Madame Bovarv and Emile Zola's Therese-Raquin and to point out the similari ties and differences between the two works. In order to make a com parison between these two works, a critical analysis will be made of each work, placing emphasis on the theme, style, and character develop ment. Although Madame Bovarv is a Realistic novel while TheVese-Requin is a Naturalistic novel, there still remains a great deal of similarity between the two literary works. Since Flaubert was the leader of the Realist school and Zola was the leader of the Naturalist school, it was felt that a comparative study of a representative work of each au thor would contribute to a better appreciation of these two phases of the nineteenth century novel. This study is divided into three chapters. The first chapter serves as an introduction and includes a biographical sketch of each author and vital details concerning their milieu. Chapter two consists of an analysis of Madame Bovarv. In Chapter three will be presented an analysis of Therese-Raquin.
    [Show full text]
  • Madame Bovary : Notes Cliffs Notes On--; Title: Rev
    Madame Bovary : Notes Cliffs Notes On--; title: Rev. Ed. author: Roberts, James Lamar. publisher: John Wiley & Sons, Inc. (US) isbn10 | asin: print isbn13: 9780822007807 ebook isbn13: 9780822071259 language: English Flaubert, Gustave,--1821-1880.--Madame subject Bovary. publication date: 1964 lcc: ddc: 840.9 Flaubert, Gustave,--1821-1880.--Madame subject: Bovary. Page i Page 1 Madame Bovary Notes by James L. Roberts, Ph.D. Department of English University of Nebraska including Introduction to the Novel Brief Synopsis of the Novel List of Characters Chapter Summaries and Commentaries Character Analyses Flaubert's Life and Works Questions for Review INCORPORATED LINCOLN. NEBRASKA 68501 Page 2 Editor Gary Carey, M.A. University of Colorado Consulting Editor James L. Roberts, Ph.D. Department of English University of Nebraska ISBN 0-8220-0780-0 © Copyright 1964 by Cliffs Notes, Inc. All Rights Reserved Printed in U.S.A. 1999 Printing The Cliffs Notes logo, the names ''Cliffs" and "Cliffs Notes," and the black and yellow diagonal-stripe cover design are all registered trademarks belonging to Cliffs Notes, Inc., and may not be used in whole or in part without written permission. Cliffs Notes, Inc. Lincoln, Nebraska Page 3 Contents Introduction 5 A Brief Synopsis 5 List of Characters 6 Critical Commentaries Part I 11 Part II 25 Part III 46 Character Analyses 62 Critical Problems 67 Flaubert's Life and Works 72 Suggestions for Further Reading 74 Sample Examination Questions 75 Page 5 Introduction Gustave Flaubert's masterpiece, Madame Bovary, was published in 1857. The book shocked many of its readers and caused a scandalized chain reaction that spread through all France and ultimately resulted in the author's prosecution for immorality.
    [Show full text]
  • Philip Roth's Confessional Narrators: the Growth of Consciousness
    Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1979 Philip Roth's Confessional Narrators: The Growth of Consciousness. Alexander George Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation George, Alexander, "Philip Roth's Confessional Narrators: The Growth of Consciousness." (1979). Dissertations. 1823. https://ecommons.luc.edu/luc_diss/1823 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1979 Alexander George PHILIP ROTH'S CONFESSIONAL NARRATORS: THE GROWTH OF' CONSCIOUSNESS by Alexander George A Dissertation Submitted to the Faculty of the Graduate School of Loyola University of Chicago in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 1979 ACKNOWLEDGE~£NTS It is a singular pleasure to acknowledge the many debts of gratitude incurred in the writing of this dissertation. My warmest thanks go to my Director, Dr. Thomas Gorman, not only for his wise counsel and practical guidance, but espec~ally for his steadfast encouragement. I am also deeply indebted to Dr. Paul Messbarger for his careful reading and helpful criticism of each chapter as it was written. Thanks also must go to Father Gene Phillips, S.J., for the benefit of his time and consideration. I am also deeply grateful for the all-important moral support given me by my family and friends, especially Dr.
    [Show full text]
  • The Warring Brothers: Borges Reads Kafka and Flaubert
    Theory in Action, Vol. 13, No. 4, October (© 2020) DOI:10.3798/tia.1937-0237.2049 The Warring Brothers: Borges Reads Kafka and Flaubert Daniel Balderston1 This article examines the preparatory materials that Borges used to teach courses at the Colegio Libre de Estudios Superiores in Buenos Aires, on Kafka in 1951 and on Flaubert in 1952. Though several well known essays emerged from these courses – “Kafka y sus precursors”, “Flaubert y su destino ejemplar” and “Vindicación de Bouvard et Pécuchet” – the manuscripts reveal far more of Borges's research and thinking about the two authors. Key concepts that he develops in these essays include his unusual (and influential) idea of the “precursor” that is only revealed through reading later works and heterodox ideas about realism and verisimilitude. [Article copies available for a fee from The Transformative Studies Institute. E-mail address: [email protected] Website: http://www.transformativestudies.org ©2020 by The Transformative Studies Institute. All rights reserved.] KEYWORDS: Borges, Flaubert, Kafka, Verisimilitude, Colegio Libre de Estudios Superiores, Courses, 1951, 1952, Manuscripts. In the early 1950s Borges taught a series of courses, and gave talks, at the Colegio Libre de Estudios Superiores, an institution that had been founded in 1930 just before the coup d’état against Hipólito Yrigoyen and that during what is usually called “el primer peronismo,” the presidential terms of Juan Domingo Perón from 1946 to 1955, served as a sort of open university. Three of his talks there were published at the time in the Colegio’s magazine, Cursos y Conferencias, while some were 1 Daniel Balderston is Andrew W.
    [Show full text]
  • Jules De Gaultier, Le Bovarysme. La Psychologie Dans L'œuvre De Flaubert
    Jules de Gaultier, Le Bovarysme. La Psychologie dans l’œuvre de Flaubert, Paris, Éditions du Sandre, 2007, 372 p. Servanne Woodward University of Western Ontario Le Bovarysme. La Psychologie dans l’œuvre de Flaubert rend à nouveau disponible le célèbre essai de 1892 de Jules de Gaultier (1858-1942), à l’origine du mot « bovarysme », maintenant passé dans la langue. Au revers de la couverture, le constat : « Les textes les plus célèbres ne sont pas forcément les plus lus. » La réimpression de cette première édition répondrait à un nouvel effort pour recouvrer le personnage flaubertien par une lecture libérée des interprétations héritées de la tradition critique. La réception du roman est reconstituée en même temps que Gaultier articule le concept de bovarysme. Une question secondaire, mais persistante, posée dans les notes qui accompagnent cette réédition, est celle de l’attrait qu’Emma Bovary continue à exercer dans le monde contemporain. www.revue-analyses.org, vol. 4, nº 1, hiver 2009 Outre le texte de Gaultier, Per Buvik a recueilli dans cet ouvrage une série d’études dues à divers spécialistes. La contribution la plus importante est due à Didier Philippot, qui, en plus de moderniser l’orthographe et la ponctuation de Gaultier, accompagne cette étude de notes abondantes dans lesquelles il détaille les sources dont s’est inspiré le philosophe autodidacte, notamment Paul Bourget, Taine et Maupassant, ce dernier étant à l’origine de la conception d’un « Flaubert schopenhauerien » (p. 78). Il est apparu très tôt aux critiques et écrivains contemporains de Flaubert qu’une théorie de la littérature et de la psychologie sous-tendait ce monument littéraire qu’est Madame Bovary.
    [Show full text]
  • A Comparative View of the Development of a Myth in Stendhal's Le Rouge Et Le Noir and Flaubert's
    3 q f eta, s' 6 f A COMPARATIVE VIEW OF THE DEVELOPMENT OF A MYTH IN STENDHAL'S LE ROUGE ET LE NOIR AND FLAUBERT'S MADAME BOVARY THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Kenneth W. Myers, B. A. Denton, Texas August, 1975 4/ /j' VV Myers, Kenneth W., A Comparative View of the Development of a Myth in Stendhal's Le Rouge et le noir and Flaubert's Madame Bovary. Master of Arts (French), August, 1975, 87 pp., bibliography, 47 titles. The study is a comparative analysis of Stendhal's roman- tic interpretation and Flaubert's realistic interpretation of outdated myths. The first purpose of the study is to reveal the linear development of Julien Sorel and Emma Bovary in quest of their respective myths. The second is to reveal technical devices used by the authors that lead to diverse interpretations of the myths. The sources of data used in the study are Le Rouge et le noir and Madame Bovary and secondary materials concerning the two novels. The study is divided into five chapters including an introduction, two chapters that develop Julien's and Emma's respective myths, a chapter concerning technical devices used in the novels and a conclusion. i TABLE OF CONTENTS Chapter Page I. INTRODUCTION. 1 II. JULIEN SOREL IN QUEST OF A MYTH. .5 III. EMMA BOVARY IN QUEST OF A MYTH. .43 IV. TECHNICAL SIMILARITIES AND DISSIMILARITIES IN THE DEVELOPMENT OF JULIEN'S AND EMMA'S MYTHS.
    [Show full text]
  • Literature @Rouentourisme
    press contact PRESS KIT Tel. 0033 (0)2 32 08 36 51 – 0033 (0)6 03 34 41 45 [email protected] Literature @RouenTourisme www.rouentourisme.com Introduction Normandy, an artistic hub since the dawn of time, has inspired numerous writers in various fields. A prosperous region near to Paris, Rouen has been one of the key French literary centres since the Middle Ages. Noblemen and the middle classes from the surrounding areas alternated their holidays between the capital and the province, bringing along the latest trends and European fashions. Rouen and the Seine Valley is full of unique historical examples and unrivalled talent. 3 press contact Tel. 0033 (0)2 32 08 36 51 – 0033 (0)6 03 34 41 45 @RouenTourisme [email protected] www.rouentourisme.com Rouen – Le Livre des Fontaines: a unique example of a little-known gem Written by Jacques Le Lieur in 1526, Le Livre des Fontaines is a unique representation of Rouen's water supply. This document illustrates an area of Rouen of around 20 meters long by 1 metre wide in a technical and detailed manner (architecture, graphics). His work needed more than 16,000 sheets kept in a wooden box which was 11 centimetres thick. Sent to the city's aldermen, this true 16th Century masterpiece is currently a unique example in Europe. Whilst this document is technical, above all, its original nature is a fine example kept within the Rouen city archives. Le Livre des Fontaines has also been used as staging for the Gros Horloge, a symbol of the city, which was connected to the city hotel where the aldermen stayed during construction.
    [Show full text]
  • Robinson Books and Periodicals: II
    Colby Quarterly Volume 8 Issue 6 June Article 8 June 1969 Robinson Books and Periodicals: II Richard Cary Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, series 8, no.6, June 1969, pg.334-343 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Cary: Robinson Books and Periodicals: II 334 Colby Library Quarterly There was a road, a railroad, and a river; Then there were hills behind it, and more trees. Anyone familiar with the town of Gardiner would recognize the salient features of this description-house, hillside, road, railroad, and river. The amazing thing, in view of the fact that this last theme discussed rep!resents a sizable fraction of Robin­ son's output, is that one does not have an overwhelming sense of dismay and bleakness after reading his poetry. To sum up, there are a number of Maine influences in Robin­ son's poetry. His inlagery owes much to the sea, streams, towns, farms, and forests of Maine; the weather also had its impact. Robinson's chief interest was in character, and there were a number of recognizable "Maine" typ'es that he presented: the tall-tale artist, the eccentric individualist, the ne'er-do-well, the strong-willed stoic, and the gossip. His themes were fre­ quently related to Maine character and times. The Protestant Ethic in both its positive and negative aspects played its role.
    [Show full text]
  • FEMALE VICTIMHOOD and SUICIDE in the NATURALISTIC NOVEL by Maria Luisa S. Saministrado a Thesis Submitted for the Requirements
    FEMALE VICTIMHOOD AND SUICIDE IN THE NATURALISTIC NOVEL By Maria Luisa S. Saministrado A thesis submitted for the requirements of the degree of Doctor of Philosophy in English The University of Newcastle Australia February 10, 2015 P a g e | ii STATEMENT OF ORIGINALITY The thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Repository**, subject to the provisions of the Copyright Act 1968. **Unless an Embargo has been approved for a determined period. P a g e | iii CONTENTS Page TITLE PAGE i STATEMENT OF ORIGINALITY ii CONTENTS iii ABSTRACT v ACKNOWLEDGMENT vi PREFACE vii CHAPTER 1 INTRODUCTION 1 2 LITERARY NATURALISM 17 Beginnings 17 Naturalism in the Novel 20 Critiques of Naturalism 30 Definitions 34 Social Reforming Nature of Naturalism 38 Continuing Influence of Naturalism 39 3 THE WOMAN IN THE NATURALISTIC NOVEL 42 THE UNMARRIED WOMAN IN STEPHEN CRANE’S 45 MAGGIE: A GIRL OF THE STREET 4 THE UNMARRIED WOMAN IN EDITH WHARTON’S 75 THE HOUSE OF MIRTH 5 THE MARRIED WOMAN 100 THE MARRIED WOMAN IN GUSTAVE’S MADAME BOVARY 101 6 THE MARRIED WOMAN IN KATE CHOPIN’S 134 P a g e | iv THE AWAKENING 7 SUICIDE AND THE FEMALE PROTAGONIST 165 Maggie’s Suicide 167 Lily’s Suicide
    [Show full text]
  • Narrative Strategies of the Nineteenth-Century Female Revisionist Amy Criniti Phillips
    Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Spring 2011 Private Reader, Public Redactor: Narrative Strategies of the Nineteenth-Century Female Revisionist Amy Criniti Phillips Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Phillips, A. (2011). Private Reader, Public Redactor: Narrative Strategies of the Nineteenth-Century Female Revisionist (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/1043 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. PRIVATE READER, PUBLIC REDACTOR: NARRATIVE STRATEGIES OF THE NINETEENTH-CENTURY FEMALE REVISIONIST A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Amy Criniti Phillips May 2011 Copyright by Amy Criniti Phillips 2011 PRIVATE READER, PUBLIC REDACTOR: NARRATIVE STRATEGIES OF THE NINETEENTH-CENTURY FEMALE REVISIONIST By Amy Criniti Phillips Approved March 28, 2011 ________________________________ ________________________________ Laura Callanan, Ph.D. Laura Engel, Ph.D. Associate Professor of English Associate Professor of English Committee Chair Committee Member ________________________________ Daniel P. Watkins, Ph.D. Professor of English Committee Member ________________________________ ________________________________ Christopher M. Duncan, Ph.D. Magali Cornier Michael, Ph.D. Dean, McAnulty College and Chair, Department of English Graduate School of Liberal Arts Professor of English iii ABSTRACT PRIVATE READER, PUBLIC REDACTOR: NARRATIVE STRATEGIES OF THE NINETEENTH-CENTURY FEMALE REVISIONIST By Amy Criniti Phillips May 2011 Dissertation supervised by Laura Callanan, Ph.D.
    [Show full text]
  • 'Geocritiquing Flaubert's Scaping of Yonville in Madame
    ‘Geocritiquing Flaubert’s Scaping of Yonville in Madame Bovary’ (2235 words) French Studies Bulletin (2017) Page 1 of 4 Dr Daniel A. Finch-Race (University of Southampton) French Section, Department of Modern Languages, University of Southampton, SO17 1BF [email protected] On 4 September 1852, thirty-year-old Gustave Flaubert wrote to novelist and poet Louise Colet with an update about the manuscript of Madame Bovary: ‘j’ai fait huit pages de ma 2e partie: la description topographique d’un village’.1 The specified portrayal of Yonville- L’Abbaye, which occupies fifteen paragraphs at the beginning of the first chapter of the second part of the novel,2 is rich in environmental details that provide an insight into the geographical and sociocultural identity of the fictional town. On 6 April 1853, Flaubert wrote to Colet that ‘il faut faire des tableaux, montrer la nature telle qu’elle est’.3 This insistence on the importance of realistically representing nature amplifies the significance of Flaubert’s scaping of the locale (i.e. his crafting of the scene). The evocation of the northern surroundings of Yonville, which encompasses plentiful details of the environmental conditions framing the dealings of the small-scale populace, is ripe for analysis based on a theoretical framework that emblematizes the spatial turn4 of recent decades – geocriticism. Bertrand Westphal offers a definition of geocritical precepts: ‘la géocritique [entreprend] de sonder les espaces humains que les arts mimétiques agencent par et dans le texte, par et dans l’image, ainsi que les interactions culturelles qui se nouent sous leur patronage’.5 Flaubert’s evocation of factors contributing to a sense of place6 indicates his uncommon awareness of environmental dynamics in the region that encompassed his growth as a Norman novelist.
    [Show full text]