DOCSLIB.ORG

Rethinking the Center-Periphery Nexus in the Early Modern Period: the Paris-Province Relation in Pierre De Villiers' Entretiens Sur Les Contes De Fées (1699)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rethinking the Center-Periphery Nexus in the Early Modern Period: the Paris-Province Relation in Pierre De Villiers' Entretiens Sur Les Contes De Fées (1699) Rethinking the Center-Periphery Nexus in the Early Modern Period: The Paris-Province Relation in Pierre de Villiers' Entretiens sur les contes de fées (1699) Oded Rabinovitch Harvard University Introduction This article examines the Paris-province relation in the early modern period insofar as it relates to the world of letters. Historians often consider these relations in the context of a narrative that I call "the plight of the provinces." In it, the provinces enjoyed but pale imitations of the cultural life of the capital at least since the second half of the seventeenth century.1 Daniel Roche and L. W. B. Brockliss have both presented a more nuanced version of this argument, suggesting that provincial culture remained vibrant even into the eighteenth century, For comments on the manuscript, I thank Rene Marion, Moshe Sluhovsky, and Giora Sternberg. 1 On social and cultural centers defining value systems and fashions for larger areas, see Liah Greenfeld and Michel Martin, eds., Center: Ideas and Institutions (Chicago: University of Chicago Press, 1988); Kenneth Clark, "Provincialism," in Moments of Vision (Oxford: Clarendon Press, 1954), 50– 62; Enrico Castelnuovo and Carlo Ginzburg, "Domination symbolique et géographie artistique," Actes de la recherche en sciences sociales 40 (1981): 51–72. Clark's arguments on the history of art have been reasserted for the world of literature in Franco Moretti, Atlas of the European Novel, 1800–1900 (London: Verso, 1998), 164–71. In France, literary history has treated this problem in a diffusionist vein since the inception of this program of research. See Gustave Lanson, "Programme d'études sur l'histoire provinciale de la vie littéraire en France," Revue d'histoire moderne et contemporaine 4, no. 7 (1902): 445–64. 61 62 Oded Rabinovitch though they also see the provinces as taking their cues from Paris.2 However, the extent to which Paris could dictate taste in the provinces remains an open question. Roger Mettam and Katherine Stern-Brennan, for example, have argued for the agency and cultural independence of the provinces, at least before the 1690s.3 Since this problem is of unusual pertinence to any study that seeks to go beyond the confines of local developments in one city, reflecting on it through a concrete and rich case study—Pierre de Villiers's Entretiens sur les contes des fées (1699)—establishes potential points of entry for further work.4 Taking the discussion from the provinces back into Paris, 2 See Daniel Roche, Le siècle des Lumières en province: Académies et académiciens provinciaux, 1680–1789 (Paris: Mouton, 1978); L. W. B. Brockliss, Calvet's Web: Enlightenment and the Republic of Letters in Eighteenth-Century France (Oxford: Oxford University Press, 2002). 3 See Roger Mettam, "Power, Status and Precedence: Rivalries among the Provincial Elites of Louis XIV's France," Transactions of the Royal Historical Society, 5th ser., 38 (1988): 43–62; Katherine Stern-Brennan, "Culture in the Cities: Provincial Academies during the Early Years of Louis XIV's Reign," Canadian Journal of History 38, no. 1 (2003): 19–42. On the complex relations between Paris and provincial institutions, see also Robert A. Schneider, Public Life in Toulouse, 1463–1789: From Municipal Republic to Cosmopolitan City (Ithaca, NY: Cornell University Press, 1989) and David S. Lux, Patronage and Royal Science in Seventeenth-century France: The Académie de Physique in Caen (Ithaca, NY: Cornell University Press, 1989). 4 [Pierre de Villiers], Entretiens sur les contes de fées et sur quelques autres ouvrages du temps, pour servir de préservatif contre le mauvais gout (Paris, 1699). The identification of Villiers as the author is based on Antoine- Alexandre Barbier, Dictionnaire des ouvrages anonymes et pseudonymes, 2nd edition (Paris, 1822), 1:395. Barbier refers to this work as a very well known book (fort connu) on 1:264. This is still the identification used by the Bibliothèque Nationale, though the work is not mentioned in other bibliographical dictionaries (e.g. Cioranescu, Grente). For another identification of Villiers as the author of the Entretiens, see [Camille] de La Croix, "L'abbé de Villiers et Jacques Favereau. Études biographiques et littéraires," Bulletin de la société archéologique et historique de la Charente, 4th ser., 6 (1868–1869): 918. On Villiers as a critic, see Arnaldo Pizzorusso, "Dialoghi e riflessioni di P. de Villiers su alcuni generi letterari," Saggi e ricerche di letteratura francese 1 (1960): 149–84, esp. 172–80 for Villiers's views on fairy tales and novels expressed in the Entretiens. Proceedings of the Western Society for French History Paris-Province Relations 63 this article argues that the Paris-province relation should be understood as the expression of conflicts in the literary field, in contrast with approaches that view it simply as an effect of a mentalité or a general decline in a once robust provincial cultural life. The "Plight of the Provinces" and the World of Letters The "plight of the provinces" narrative is based on a contrast between the allegedly blooming culture of Paris and the declining intellectual vitality of the provinces. In the sixteenth and early seventeenth centuries, provincial towns enjoyed a bustling culture and produced their own luminaries. Montaigne became one of the most successful authors of the century writing from Périgord; the print industry of Lyon rivaled the Parisian presses in its prestige; and, as Peter Miller claimed in his study of the erudite Claude Nicolas Fabri de Peiresc, "Peiresc's 'out of the way,' provincial headquarters was not a liability in an age just before the emergence of modern capitals like Paris and London made the term 'provincial intellectual' an oxymoron."5 By the early eighteenth century, however, a completely different relation between Paris and the provinces had emerged. As Alain Corbin has suggestively claimed, during the period 1650–1670 the term province came to define "the hell of disgrace, the banishment of internal exile, the obsessive fear of oblivion . La province was where one went to be 'buried alive.'"6 Surprisingly enough, according to Corbin, even provincials did not protest this depiction; they instead sought 5 See, for example, John Lough, Writer and Public in France: From the Middle Ages to the Present Day (Oxford: Clarendon Press, 1978), 32; George Hoffmann, Montaigne's Career (Oxford: Clarendon Press, 1998); Peter N. Miller, Peiresc's Europe: Learning and Virtue in the Seventeenth Century (New Haven, CT: Yale University Press, 2000), 2. 6 Alain Corbin, "Paris-Province," in Pierre Nora, ed., Realms of Memory: Rethinking the French Past (New York: Columbia University Press, 1996), 1:427. Volume 38 (2010) 64 Oded Rabinovitch legitimacy from the center: "Fascinated by the City and the court, in thrall to a desire for acceptance, immobilized by the expectations of correspondence from Paris, la province offered no counterimage to oppose the disparaging figures of satire, patiently allowing the erudition of its scholars and prestige of its jurists to be mocked for the amusement of court society."7 This decline ostensibly mirrored a decline in the print industries of the provinces, which was evident both in the numbers of books produced and in the printing infrastructure. While during the "long sixteenth century" Paris accounted for 64.2 percent of titles produced in France, by the eighteenth century the figure had reached 83 percent.8 In 1520, Lyon had at least eighty printers, who exported books using the city's far- flung commercial networks. By 1700, Lyon had only 29 ateliers, and only 88 printing presses, compared to 180 in Paris.9 Indeed, in the early sixteenth century, books printed outside Paris enjoyed widespread European circulation, and their printers depended on such circulation for their economic survival.10 Contemporary definitions of "province" emanating from Paris seem to support this narrative of "the plight of the provinces." Most prominently, Antoine Furetière's dictionary defined the term first as specifying "a part of a kingdom, monarchy, or state usually defined through a spiritual or temporal jurisdiction," but added that "[it is] also said of areas 7 Corbin, "Paris-Province," 1:431; for challenges to this view, see notes 2 and 3. 8 According to the rough estimates in Emmanuel Le Roy Ladurie et al., "L'édition francophone (1470–1780). Paris-Province-'Étranger' par tranches diachroniques," Histoire, économie et société 15, no. 4 (1996): 512–13. 9 Based on a comparison of the figures in Natalie Zemon Davis, "Le monde de l'imprimerie humaniste: Lyon," in Le livre conquérant: Du Moyen Age au milieu du XVIIe siècle, vol. 1, Histoire de l'édition française, ed. Roger Chartier and Henri-Jean Martin (Paris: Fayard, 1990), 303 ; and Jean Quéniart, "L'anémie provinciale," in Le livre triomphant, 1660–1830, vol. 2, Histoire de l'édition française, ed. Roger Chartier and Henri-Jean Martin (Paris: Fayard, 1990), 358–59. 10 Andrew Pettegree, The Book in the Renaissance (New Haven, CT: Yale University Press, 2010), 65, 87–88. Proceedings of the Western Society for French History Paris-Province Relations 65 remote from the court, or the capital city." A "provincial" was not only someone who held an office in the provinces, but also "a man who does not have the manner of living of the court or the capital."11 Thus, during the seventeenth century, Paris became the central node in France's cultural geography while the provinces were quickly becoming the backwaters of intellectual life. This article argues, in contrast, that interpretations based on changes in the meaning of the term province or on a simple comparison of Paris to the provinces miss important aspects of center-periphery relations in early modern France. First and foremost, the Paris-province relation was open to a range of appropriations. Notably, authors could create representations that portrayed the province in a positive light, especially in order to satirize Parisian mores.
Load more

Recommended publications
  • He Museum of Modern Art , West 53Rd Street, New York Iephone: Circle 5-8900
    rff 41516 - 38 . HE MUSEUM OF MODERN ART , WEST 53RD STREET, NEW YORK IEPHONE: CIRCLE 5-8900 FOR IMMEDIATE RELEASE BRITAIN DELIVERS LAST SHIPMENT OF WAR PAINTINGS TO MUSEUM OF MODERN ART A final shipment of fourteen paintings and drawings by noted British artists has Just arrived from London in time for inclusion in the exhibition Britain At War, which opens to the public Friday, May 23, at the Museum of Modern Art, 11 West 53 Street. The Museum announces with great pleasure that not a single shipment from London for the exhibition has been lost en route. All the paintings, cartoons, posters, photographs, films, camouflage and catalog informa­ tion—the graphic record of a country at war—have safely reached their destination in the Museum. The first shipment was received the end of January with the arrival by boat of a large consignment of paintings previously shown in the National Gallery in London. Not only by boat but also by Clipper plane, the material for this graphic record of-Britain at v,rar reached the United States. A single plane brought twenty-three four-pound rolls of drawings, photographs and posters. Figures on the actual weight of this ship­ ment are not available but each roll had from thirty to thirty-five dollars worth of stamps. Lord Halifax, the British Ambassador to the United States, will open the exhibition at a members' preview Thursday evening, May 22. That same evening from 6:15 to 6:30 he will be the principal speaker on a two-way radio program over an international hookup of the Columbia Broadcasting System.
    [Show full text]
  • Kenneth Clark Receives National Gallery Medal
    SIXTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 • 737-4215 extension 224 KENNETH CLARK RECEIVES NATIONAL GALLERY MEDAL FOR "CIVILISATION" FILM SERIES WASHINGTON, D.C. November 18, 1970. Kenneth Clark, author and narrator of the "Civilisation" film series, was awarded the National Gallery of Art's Medal for Distinguished Service to Education in Art at a ceremony at the Gallery today. In presenting the Medal to Lord Clark, J. Carter Brown, Director of the National Gallery, said, "Among the many gaps that need bridging in contemporary life is the cavernous one that yawns be­ tween the accomplished art specialist and the layman eager to develop his own response to art. Kenneth Clark--perhaps more effectively than any art scholar of our time--has made of his life a bridge across that chasm." "Civilisation," a thirteen-part color film series, traces the cultural life of Western man from the fall of the Roman empire through the twentieth century, focusing on the arts, music, litera­ ture, and history. Since its American premiere at the National Gallery in the fall of 1969, the entire series has been shown nearly a hundred times and has drawn more than 275,000 viewers. It was originally produced for the British Broadcasting Corporation, and is now being shown on National Educational Television in the United States. In a program beginning this month, "Civilisation" will also be distributed, without charge, through the National (MORE) LORD CLARK RECEIVES NATIONAL GALLERY MEDAL FCA "CIVILISATION" -2 \ * ..V «** * Gallery's Extension Services to colleges and universities through­ out the nation which have fewer than 2,000 undergraduates.
    [Show full text]
  • 6866 Intro Ug
    © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. INTRODUCTION What Remains of Our Loves? That Poor Socrates had only a prohibitive Demon; mine is a great approver, mine is a Demon of action, or Demon of combat. —Baudelaire, “Assommons les pauvres!” [“Let’s Beat Up the Poor!”] To parody a famous expression, “The French have no head for theory.” At least not until the upsurge of the sixties and seventies. Liter- ary theory then had its hour of glory, as if the faith of the convert had suddenly allowed it to catch up with nearly a century of foot-dragging in a split second. French literary studies were unfamiliar with Russian for- malism, the Prague circle, and Anglo-American New Criticism, to say nothing of the stylistics of Leo Spitzer, the topology of Ernst Robert Curtius, the antipositivism of Benedetto Croce, Gianfranco Contini’s crit- icism of variants, the Geneva school and the critique of consciousness, or even with the deliberate antitheory of F. R. Leavis and his Cambridge disciples. Weighed in the balance against all these original and influential movements that occupied the first half of the twentieth century in Europe and North America, the French had only Valéry’s “Poétique” [poetics]—the title of the chair he occupied at the Collège de France (1936) and an ephemeral discipline whose progress was soon interrupted by the war, and then by Valéry’s death—and perhaps the ever-enigmatic Fleurs de Tarbes by Jean Paulhan (1941).
    [Show full text]
  • Hieroglyphs of the Mind
    Copyrighted Material The simplicity of a sketch, the comparative rapidity with which it is produced, the concentration of meaning demanded by its rigid economy of means, render it more symbolical, more like the hieroglyph of its maker’s mind, than any finished work can be. if this be true of all artists, it is in a peculiar sense true of Michelangelo. —J. A. symonds, The Life of Michelangelo Buonarroti, 18931 The bald, clean-shaven man, with formidable frown, nut-cracker nose and chin . seem[s] to have typified for Leonardo vigour and resolution, and so he becomes the counterpart of that other profile which came with equal facility from Leonardo’s pen—the epicene youth. These are, in fact, the two hieroglyphs of Leonardo’s unconscious mind, the two images his hand created when his attention was wandering. —Kenneth clark, Leonardo da Vinci: An Account of His Development as an Artist, 19392 hieroglyPhs of the Mind two celebrated biographers, writing at half a century’s distance from each other about two great artists, have recourse to the same metaphor in their attempt to convey the unique status of drawing as it distinguishes itself from the more substantial visual media on which the popular fame of this pair of geniuses mostly resided. Why the hieroglyph? The term had become proverbial ever since the rosetta stone, discovered during the 1 napoleonic campaigns in egypt, had enabled early nineteenth-century scholars to decipher a system of notation that had fascinated and puzzled europeans all the way back, indeed, to the lifetimes of these two renais- sance artists.3 But Jean-François champollion is not the only researcher lurking beneath the surface of this art-historical metaphor.
    [Show full text]
  • Towards a History of the Literary Cultures in East-Central Europe: Theoretical Reflections
    Towards a History of the Literary Cultures in East-Central Europe: Theoretical Reflections Marcel Cornis-Pope John Neubauer American Council of Learned Societies ACLS OCCASIONAL PAPER, No. 52 ISSN 1041-536X Towards a History of the Literary Cultures in East-Central Europe: Theoretical Reflections Marcel Cornis-Pope John Neubauer American Council of Learned Societies ACLS OCCASIONAL PAPER, No. 52 Copyright © 2002 Marcel Cornis-Pope and John Neubauer Towards a History of the Literary Cultures in East-Central Europe: Theoretical Reflections Marcel Cornis-Pope Virginia Commonwealth University John Neubauer University ofAmsterdam Historical approaches to literature and culture have experienced a remarkable revival in the last decades, accompanied by severe critiques of past historiographies. The new approaches reject the positivist and orthodox Marxist traditions that regard literature as a mimetic reflection of an underlying "reality," "internalist" histories that isolate the discipline from the surrounding culture, Hegelian, organicist, and teleological generalizations of periods and cultures, reductive national perspectives, and, last but not least, histories dominated by "grand narratives." But if there is a reasonable consensus on the critique of the past, new histories have been slow in coming and controversial when published. Witness the series that the International Comparative Literature Association (ICLA) has been preparing on the history of literature in the European languages, and the French literary history that Denis Hollier and his collaborators have published-both of which we shall discuss later in this paper. The following essay delineates the contours of an ongoing project on the history of the literary cultures in East-Central Europe, which will be published by John Benjamins Press in three volumes.
    [Show full text]
  • The Masterpiece As a Question of Structure and Values: in Search of Universals in Art
    International Journal of Art and Art History December 2014, Vol. 2, No. 2, pp. 77-100 ISSN: 2374-2321 (Print), 2374-233X (Online) Copyright © The Author(s). 2014. All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijaah.v2n2a4 URL: http://dx.doi.org/10.15640/ijaah.v2n2a4 The Masterpiece as a Question of Structure and Values: In Search of Universals in Art Michael Kausch* 1. To the Question “What is a Masterpiece?”was the question asked by the famous British historian of art Kenneth Clark in a small essay (Ill.1) in 1979.† Ill. 1: Kenneth Clark: What is a Masterpiece? (1979) *PD Mag. Dr. phil. habil, Eschenrieder Str. 11, D-82194 Gröbenzell, BRD, Austrian. Telephone: +49 (0) 89 28803698 † Clark, Kenneth: What is a Masterpiece? London 1979. 78 International Journal of Art and Art History, Vol. 2(2), December 2014 He answeredthe question in the line of classical aesthetics and in reference to works of art mainly of the classical European tradition. Although in our opinion many of these answers respectively criteria are still valid, the exclusive frame of reference, which here is still taken more or less for granted, today seems in multiple ways doubtful: 1. The reference to classical aesthetics 2. The reference to classical art 3. The reference to European art and culture To 1: Classical aesthetics essentially going back to the state of the 18th century seems to have become relative by aesthetics of the open work of art, which is not centered in the work, but – being based on the interaction between the work of art and the recipient – in the observer.
    [Show full text]
  • Irving Lavin, Renowned Art Historian and Author, Is Featured Speaker in National Gallery of Art's 53Rd A
    Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Release Date: April 13, 2004 IRVING LAVIN, RENOWNED ART HISTORIAN AND AUTHOR, IS FEATURED SPEAKER IN NATIONAL GALLERY OF ART'S 53RD A. W. MELLON LECTURES IN THE FINE ARTS Irv ing Lav in prof essor emeritus Institute f or Adv anced Study , Princeton photo by Randall Hagadorn The National Gallery of Art will present the 53rd A. W. Mellon Lectures in the Fine Arts. The 2004 series, More Than Meets the Eye, will be given by renowned art historian and author Irving Lavin, professor emeritus, Institute for Advanced Study, Princeton. All lectures are on Sundays at 2:00 p.m. in the East Building Auditorium, and are free of charge; seating is on a first come, first seated basis. The series includes the following lectures: April 18 The Story of O from Giotto to Einstein April 25 Michelangelo, Moses, and the Warrior Pope May 2 Caravaggio I: Divine Dissimulation May 9 Caravaggio II: The View from Behind May 16 The Infinite Spiral: Claude Mellan's Miraculous Image May 23 Going for Baroque: Observations on the Postmodern Fold "It has been said that the history of art is the history of ideas, and these lectures will explore the way artists have used a variety of figures of speech--metaphor, irony, puns, paradoxes--to embody unseen meaning in visual form," said Lavin. "The first and last lectures will pursue two opposite traditions--geometric line and chaotic surface--as they were taken up and adapted over time, from Giotto to Jasper Johns and from Bernini to Frank Gehry, to convey new meaning in our own era.
    [Show full text]
  • "Germany Above All"
    STUDIES AND DOCUMENTS ON THE WAR "Germany above all" The German mental attitude and the war by Ê. DURKHEIM Professor at the University of Paris Der Staat ist Macht TREITSCHKE (Politik) Translated by J, S. Cette brochure est en vente à la LIBRAIRIE ARMAND COLIN 103, BouUvard Saint-Michel, PARIS, 5' au prix de 0 fr. 50 STUDIES AND DOCUMENTS ON THE WAR PUBLISHING COMMITTEE MM. ERNEST LÀVISSE, of the « Académie française », President. CHARLES ANDLER, professor of German literature and , language in the University of Paris. JOSEPH BÉDIER, professor at the « Collège de France ». HENRI BERGSON, of the « Académie française », EMILE BOUTROUX, of the «Académie française 4. ERNESTTDENIS, professor of history in the University of Paris. - EMILE DURKHEIM, professor in the University of Paris. JACQUES HADAMARD, of the « Académie des Sciences ». GUSTAVE LANSON, professor of French literature in the University of Paris. CHARLES SEIGNOBOS, professor of history in the Uni­ versity of Paris. ANDRÉ WEISS, of the « Académie des Sciences morales, et politiques ». All communications to be addressed to the Secretaey of the Committee : < M. EMILE DURKHEIM, 4, Avenue d'Orléans, PARIS, 14°. STUDIES AND DOCUMENTS ON THE WAR "Germany above all" German mentality and zoat by É. DURKHEIM Professor in the University of Paris. Der Staat ist Macht. TREITSCHKE (Politik). Translated by J. S LIBRAIRIE ARMAND COLIN 103, Boulevard Saint-Michel, PARIS, 5» I9l5 CONTENTS Introduction. The Conduct of Germany during the war springs from a certain mental attiLude , 5 This attitude will be examined in the writings of Treitschke... 4 I. — The State above international law. International treaties do not bind the State.
    [Show full text]
  • Modern Trends in Literary Studies in France"
    MODERN TRENDS IN LITERARY STUDIES IN FRANCE" EFORE I try to explain the character of and modern B tendencies in literary studies in France, I should like to say a word or two about the reasons that have prompted me to choose this subject for discussion tonight. This being essentially a group of professors of history in its various forms, of philosophy understood in the broad sense with which we are familiar in Europe, and of literature and the arts-a group that corresponds to our Faculte's des Lettres in France, I first thought that a subject deaIing with the very life of the Sorbonne or certain aspects of our Fac- ukhs ddes Lettres might be appropriate, But this would have led me to all sorts of administrative and personal matters that would have led you away from your normal scholarly pursuits. On the other hand I have very frequently deplored in meetings of scholars that the subject under discussion should be so narrow, so minute, so remote from the audience that it would seem at times that the reader of the paper is the only one to be interested in it (if he is), especially when he is unable to come to any general or sufficiently far-reaching conclusions. I am not trying to bring you anything very new toniglit. My subject will be broad and somewhat abstract. I felt it might be of some interest to a fairly large number of you, since in our literary studies in France we never forget their historical aspects, nor the links that, especially in the field of literature, bind the world of art and the world of thought.
    [Show full text]
  • Biographies and Autobiographies of Historians, Edited by Doug Munro and John G
    9 Pursuing the Antipodean: Bernard Smith, Identity and History Sheridan Palmer Identity mattered to Bernard Smith, probably more than for most people. As an illegitimate child and a fostered ward of the state, anonymity had haunted him, but it also drove his ambitions. By using these two opposing structures as tension rods, identity and anonymity, he sought validation through his work and recognition as an art and cultural historian. His revision of Australia’s modern cultural evolution, written from a fiercely independent position, was based around colonial inheritance, cultural traffic and transformation, but it was also intended to shake up an ‘uncritical culture’ and situate it in a more conspicuous international position. From the mid-1940s, his historiography became the benchmark for scholars and artists in their pursuit of, or argument with, Antipodean identity and cultural autonomy, and this chapter seeks to explain why Bernard Smith’s rethinking of antipodeanism – a term he coined – and his aim to legitimate Australian culture within a globalised postwar world was a pioneering and brilliant study of cultural origins and evolution; at a personal level it reflected his own genesis. 199 CLIO'S LIVES ‘To understand Australia one must look elsewhere’1 Writing to his friend Lindsay Gordon in 1948, Bernard Smith stated: I am becoming convinced that the conceptions of … Utopia, and ‘working man’s paradise’ in the Southern Land is one of the central historical ideas running through Australian literature, art and politics. It is perhaps the myth-making of the voyager and the emigrant … another aspect of Illusion and Reality.2 Bernard Smith, 1948 passport photo Source: Bernard Smith Papers, National Library of Australia .
    [Show full text]
  • Fernand Baldensperger Papers, 1904-1945
    http://oac.cdlib.org/findaid/ark:/13030/tf8w1008j0 No online items Finding Aid for the Fernand Baldensperger papers, 1904-1945 Processed by Whitney Braun in the Center for Primary Research and Training (CFPRT), with assistance from Kelley Wolfe Bachli, 2009; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections UCLA Library Special Collections staff Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 1999 The Regents of the University of California. All rights reserved. Finding Aid for the Fernand 603 1 Baldensperger papers, 1904-1945 Descriptive Summary Title: Fernand Baldensperger papers Date (inclusive): 1904-1945 Collection number: 603 Creator: Baldensperger, Fernand, 1871-1958 Extent: 6 boxes (3 linear ft.) Abstract: Fernand Baldensperger (1871-1958) was a literary scholar, author (under the pseudonym Fernand Baldenne), and professor who contributed greatly to the field of Comparative Literature. In addition to teaching at the Universities of Nancy (1884-1900), Lyon (1900-1910), and Paris (1910-1935) in France, he taught at Columbia University (1917-1919), the University of Strasbourg (1919-1923), Harvard University (1935-1940), and the University of California-Los Angeles (1940-1945). Baldensperger cofounded the Revue de littérature comparée, and he wrote numerous scholarly texts on Goethe, Balzac, Alfred de Vigny, and various French and comparative literary topics. The collection consists of scholarly and World War II-related print and manuscript materials, as well as correspondence. Scholarly materials include printed texts by Baldensperger and others (often annotated and/or with inscriptions), typed drafts of Baldensperger's texts, extensive manuscript research notes, and a presumably unpublished typed manuscript.
    [Show full text]
  • Slade Lectures
    OXFORD SLADE LECTURES 1955 E.K. Waterhouse: ‘The Aftermath of the High Renaissance in Italian Painting’. 1956 J.W. Pope Hennessy: ‘Italian Renaissance Sculpture’. 1957 Douglas Cooper: ‘Revolutions in Art’. 1958 Sir John Summerson: ‘Studies in English Architecture’. 1959 Eric Newton: ‘The Creative Process in Painting’. 1960 G. Zarnecki: ‘Romanesque Sculpture’. 1961 Sir Kenneth Clark: ‘Motives’. 1962 Sir Anthony Blunt: ‘Poussin’. 1963 Dr T.S.R. Boase: ‘The Arts in the Crusading States’. 1964 Professor Q.S. Bell: ‘Painting of the Victorian Age, ‘1837-1910’. 1965 Professor Sir Leslie Martin: ‘The Building and the City (1900-65)’. 1966 David Piper: ‘Portraits and History’. 1967 Professor M. Schapiro: ‘Cubism and Abstract Painting’. 1968 Professor N. Pevsner: ‘Writers on Architecture in the Nineteenth Century’. 1969 F.J.B. Watson: ‘Craftsmanship and Society in Eighteenth Century France’. 1970 Professor O. Kurz: ‘Islamic Art between East and West’. 1971 Professor R. Rosenblum: ‘Aspects of the Northern Romantic Tradition in Modern Painting’. 1972 Professor S. Slive: ‘Observations on Dutch Art and Society in the Seventeenth Century’ 1973 Professor M. Sullivan: ‘Chinese Landscape painting: the Birth and Rebirth of a Tradition’. 1974 M.D.K. Baxandall: ‘Art and Circumstances: High German RenaissanceSculpture’. 1975 M. Girouard: ‘The Powerhouses: Changing Forms and Functions in the English Country-Houses, 1400-1930’. 1976 H. Hibbard: ‘Caravaggio’. 1977 R. Herbert: ‘The Social Iconography of Impressionism’. 1978 J.G. Beckwith: ‘Early Medieval Art and the Imperial Ideal’. 1979 Dr J. Mordaunt Crook: ‘Victorian Gothic: the Dilemma of Style’. 1980 Dr N.R. Penny: ‘The Hero, the Sculptor and the Public’. 1981 Professor J.
    [Show full text]