DOCSLIB.ORG

Between Friends: Representations of Female Sociability in French Genre Painting and Portraiture, 1770-1830

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Between Friends: Representations of Female Sociability in French Genre Painting and Portraiture, 1770-1830 BETWEEN FRIENDS: REPRESENTATIONS OF FEMALE SOCIABILITY IN FRENCH GENRE PAINTING AND PORTRAITURE, 1770-1830 Molly A. Medakovich A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art. Chapel Hill 2012 Approved by: Prof. Mary D. Sheriff Prof. Neil McWilliam Prof. Melissa Hyde Prof. Carol Magee Prof. Daniel Sherman © 2012 Molly A. Medakovich ALL RIGHTS RESERVED ii ABSTRACT MOLLY A. MEDAKOVICH: Between Friends: Representations of Female Sociability in French Genre Painting and Portraiture, 1770-1830 (Under the direction of Dr. Mary D. Sheriff) This dissertation examines spaces of female sociability and their representation in late-eighteenth- and early-nineteenth-century genre paintings and portraiture. I look to paintings that feature female companions engaging with one another in various locales – the exotic colonial island, the convent, the boudoir, the salon, and the artist’s studio – and analyze the ways in which artists represent female friendship in such settings. Despite the historical tradition that negated women’s extra-familial relationships and instead privileged the male enjoyment of the offices of friendship, the companionship, intimacy, and collaboration that unfolds within the canvases suggests a dynamic that deserves more attention than has been heretofore been given. Historical and art historical narratives of this period before, during, and after the French Revolution consistently focus on male artistic and social networks, foregrounding them in a language of brotherhood and public virtue, but sisterhood existed in other significant forms. The images I investigate are drawn from the period 1770-1830, an era of genre painting and portraiture that presents a particularly rich set of scenes featuring female sociability, often in the absence of men. Intimate moments between mothers and maids, friendly strolls in the picturesque garden, scenes of shared confidences, friendship portraits and other physical tokens of affection and memory, and creative companionship all speak to a strong tradition of female collaboration and sociability, often displaying iii friendship as a means for individual development and shared emotion. Alongside treatises on friendship, fictional and real letters exchanged between female friends, and personal memoirs, the paintings that this dissertation addresses both reveal and construct the history of female friendship in early modern France. Ultimately, paintings of female sociability suggest that it allowed women to step beyond the strict identity roles of mother and wife and to develop unique subjectivities and identities. The culture of sensibilité, in part, aided in the development of a language of female friendship and in the flourishing of images of the period that picture the intimate bond. iv ACKNOWLEDGEMENTS I received several opportunities and have many thanks to offer to those who helped make this project possible. The UNC-Chapel Hill Art Department provided me with generous support during my residence as a graduate student and my years of dissertating. The Samuel T. Kress Foundation gave me the opportunity to conduct research in France, as did the UNC Off-Campus Dissertation Fellowship. A summer seminar on sensibilité, funded by the Andrew W. Mellon Foundation and organized by Mary Sheriff and Ann Bermingham provided much fodder for my thinking on sensibility and French painting. Joëlle Déjardin at the Musée Fragonard in Grasse aided me during the early stages of my research on Maguerite Gérard. The UNC Art Library, and Rachel Frew in particular, provided invaluable assistance from the first day I entered its doors as a Master’s student. Robert Kintz and Linsday Fulenwider were also of great help and encouragement during my years of graduate study. I first encountered the eighteenth century through the masterful teaching of Christopher Johns, whose scholarship and enthusiasm in the field continue to inspire me. I have always been captivated by the work of Melissa Hyde, whose interest in gender and the eighteenth century was an important foundation of my own scholarly interests. Neil McWilliam provided tremendous time and commitment in the classroom during my graduate coursework; his elegance, kindness, and intellect are unforgettable. Anne Schroder’s encouragement during the early stages of my dissertation was invaluable, and she was always quick to reach out and bring me in to the “eighteenth-century fold” at v conferences. Although we met only once, at a café on a busy corner near the Musée d’Orsay, Susan Taylor-Leduc’s brainstorming session represented a pivotal turn in the evolution and final form of this project. I extend my gratitude to my dissertation committee, whose insightful feedback has given me much food for thought for future development of this project. And last, but certainly not least, it has been pure fortune and pleasure to work with Mary Sheriff. Her mentorship has been critical to my success, her scholarly example unmatched, and her compassion essential as I have made the journey toward this pivotal moment in my career. vi DEDICATION Looking back on the years of my life that preceded this dissertation, it is clear that the topic of friendship and the rich relationships shared between women have been with me all along. My maternal grandmother’s upbeat attitude and tenacity have always been a model of positive living and an example of truly embracing life. My paternal grandmother’s careful planning allowed me to pursue my education without financial constraints, freeing me to follow my dreams as they developed. My mother’s unwavering support has been essential to my personal and academic development, and her pursuit of her own dreams during times of adversity provided me with a strong example of determination and hard work. My sister’s friendship has spanned time and distance, and the differences that once set us apart are now the basis of a close relationship. My “Iowa girls” have inspired me with their own achievements and their lifelong friendship; their visits, phone calls, and ongoing support have enriched my life in immeasurable ways. The many inspirational women that I have encountered in my life have left an impression on me that ignites the pages that follow, and their traces leave an indelible mark on my spirit. Although this dissertation addresses female friendship, the friendship of my husband has been my ultimate refuge during the rigorous and adventurous process of writing this dissertation. He has been an intimate witness, an ardent champion, and a blissful oasis throughout my years as a graduate student. The success of completing this project is equally his. vii TABLE OF CONTENTS LIST OF ILLUSTRATIONS ...............................................................................................x INTRODUCTION: FRIENDSHIP AND REPRESENTATION .........................................1 Chapter I. OH FATHER, WHERE ART THOU? MATRIARCHY AND FEMALE FRIENDSHIP IN MARGUERITE GÉRARD’S L’ENFANCE DE PAUL ET VIRGINIE .....................................................................................................................20 Paul et Virginie ............................................................................................................24 Crossing Boundaries: Intimacy, Maternity, and Class .................................................31 “Ain’t I a Woman?”: Slavery and Maternity on L’Île de France ................................45 Intimate Exile and Inseparability .................................................................................63 II. SISTER ACT: TIES OF FEMALE AFFECTION IN THE EIGHTEENTH- CENTURY CONVENT .....................................................................................................70 Convent Sociability ......................................................................................................76 Behind Closed Doors: Narratives of Containment, Resistance, and Desire ................82 “Motion and Emotion”: The Picturesque Convent Garden and Female Sociability .......................................................................................................93 The Path of Friendship ...............................................................................................123 III. A PORTRAIT OF FEMALE FRIENDSHIP: JULIETTE RÉCAMIER AT THE ABBAYE-AUX-BOIS ............................................................................................126 “La Belle Juliette”: Introducing Madame Récamier ..................................................127 Les Merveilleuses: Fashion and Friendship in Directoire Paris ................................132 The Most Famous Bed in Europe ..............................................................................145 viii A Portrait of Friendship .............................................................................................146 Space and Sociability .................................................................................................158 Material Memory and Nostalgic Longing ..................................................................163 IV. SISTER ARTS/SISTERHOODS OF THE ARTS ....................................................170 Allegories of the Arts .................................................................................................172 Painting, Music, and the Accomplishments ...............................................................177 Painting
Load more

Recommended publications
  • Shearer West Phd Thesis Vol 1
    THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON (VOL. I) Shearer West A Thesis Submitted for the Degree of PhD at the University of St. Andrews 1986 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2982 This item is protected by original copyright THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON Ph.D. Thesis St. Andrews University Shearer West VOLUME 1 TEXT In submitting this thesis to the University of St. Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the I work may be made and supplied to any bona fide library or research worker. ABSTRACT A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between ca745 and 1800 : painting, print and book illustration.
    [Show full text]
  • Circumambulation in Indian Pilgrimage: Meaning And
    232 INTERNATIONAL JOURNAL OF SCIENTIFIC & ENGINEERING RESEARCH, VOLUME 12, ISSUE 1, JANUARY-2021 ISSN 2229-5518 Circumambulation in Indian pilgrimage: Meaning and manifestation Santosh Kumar Abstract— Our ancient literature is full of examples where pilgrimage became an immensely popular way of achieving spiritual aims while walking. In India, many communities have attached spiritual importance to particular places or to the place where people feel a spiritual awakening. Circumambulation (pradakshina) around that sacred place becomes the key point of prayer and offering. All these circumambulation spaces are associated with the shrines or sacred places referring to auspicious symbolism. In Indian tradition, circumambulation has been practice in multiple scales ranging from a deity or tree to sacred hill, river, and city. The spatial character of the path, route, and street, shift from an inside dwelling to outside in nature or city, depending upon the central symbolism. The experience of the space while walking through sacred space remodel people's mental and physical character. As a result, not only the sacred space but their design and physical characteristics can be both meaningful and valuable to the public. This research has been done by exploring in two stage to finalize the conclusion, In which First stage will involve a literature exploration of Hindu and Buddhist scripture to understand the meaning and significance of circumambulation and in second, will investigate the architectural manifestation of various element in circumambulatory which help to attain its meaning and true purpose. Index Terms— Pilgrimage, Circumambulation, Spatial, Sacred, Path, Hinduism, Temple architecture —————————— —————————— 1 Introduction Circumambulation ‘Pradakshinā’, According to Rig Vedic single light source falling upon central symbolism plays a verses1, 'Pra’ used as a prefix to the verb and takes on the vital role.
    [Show full text]
  • Volume 2, Issue 3, Autumn 2018
    The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Front Cover Image: Textile Detail of an Evening Dress, circa 1950s, Maker Unknown, Middlesex University Fashion Collection, London, England, F2021AB. The Middlesex University Fashion Collection comprises approximately 450 garments for women and men, textiles, accessories including hats, shoes, gloves, and more, plus hundreds of haberdashery items including buttons and trimmings, from the nineteenth century to the present day. Browse the Middlesex University Fashion Collection at https://tinyurl.com/middlesex-fashion. The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Editor–in–Chief Jennifer Daley Editor Scott Hughes Myerly Proofreader Georgina Chappell Published by The Association of Dress Historians [email protected] www.dresshistorians.org The Journal of Dress History Volume 2, Issue 3, Autumn 2018 [email protected] www.dresshistorians.org Copyright © 2018 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is circulated solely for educational purposes, completely free of charge, and not for sale or profit.
    [Show full text]
  • The Italian Comedians Probably 1720 Oil on Canvas Overall: 63.8 × 76.2 Cm (25 1/8 × 30 In.) Framed: 94.62 × 107 × 13.65 Cm (37 1/4 × 42 1/8 × 5 3/8 In.) Samuel H
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS French Paintings of the Fifteenth through Eighteenth Centuries Antoine Watteau French, 1684 - 1721 The Italian Comedians probably 1720 oil on canvas overall: 63.8 × 76.2 cm (25 1/8 × 30 in.) framed: 94.62 × 107 × 13.65 cm (37 1/4 × 42 1/8 × 5 3/8 in.) Samuel H. Kress Collection 1946.7.9 ENTRY Numerous paintings with figures in theatrical costume attest to Jean Antoine Watteau’s interest in the theater. In The Italian Comedians, however—as in others of his works in this genre—the identity of some of the characters remains uncertain or equivocal because he sometimes reused the same model for different figures and modified standard costumes according to his whim. Pierre Rosenberg has drawn attention to the announcement in the Mercure de France of the 1733 print after The Italian Comedians [fig. 1] by Bernard Baron (1696–1762): “These are almost all portraits of men skilled in their art, whom Watteau painted in the different clothing of the actors of the Italian Theatre.” [1] It would seem, then, that the painting does not record an actual performance; and we lack evidence as to who these individuals might actually be. It was Baron’s print (included in the Recueil Jullienne, the compendium of prints after Watteau’s work) that gave The Italian Comedians its title. The scene appears to represent a curtain call of the Comédie Italienne, the French version of the commedia dell’arte, which presented stock characters in predictably humorous plots. A red curtain has been drawn aside from a stage where fifteen figures stand together.
    [Show full text]
  • Annual Report 1995
    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
    [Show full text]
  • Rien Ne Va Plus 2 Dieser Vierte Band Über Das Leben Des Generals Lazare Hoche (1768-97) Befasst Sich Mit Den Beiden Jahren 1796 Und 1797
    1 Gott schenkte Adam den Frieden, die Freiheit und das Paradies. Die Men- schen nahmen sich die Freiheit und wählten die Früchte vom Baum der Erkenntnis. Denn Wissen ist Macht. Die Macht, die sie sogleich miss- brauchten und fortwährend missbrauchen. Lazare Hoche (1768 -1797)1 Rien ne va plus 2 Dieser vierte Band über das Leben des Generals Lazare Hoche (1768-97) befasst sich mit den beiden Jahren 1796 und 1797. Gekürzte Quellenangaben bedeuten: „Rousselin 2“: A. Rousselin, „Vie de Lazare Hoche, Géné- ral des armées de la République“, tome second, 1797/8; Briefkopiensammlung der Mme Hoche „Vendéens et Chouans“: "Collection des mémoires rela- tifs à la Révolution française – Guerre des Vendéens et des Chouans contre la République Française ou Annales des départements de l’Ouest”, Paris 1825, "par un officier supé- rieur des armées de la République". Sammlung von Akten aus dieser Zeit. „Des Elends Sohn“, 2007, Hoche 1773-1793 „Quatrevingt-quatorze“: 2008, Hoche 1794 „Politiker und Soldaten“: 2009, Hoche 1795 Wer den vielen Links nachgehen möchte, schreibt in das Adressfeld seines Explorers: http://pclavadetscher.magix.net/website/ oder http://db.peterclavadetscher.ch/ Dort findet man den Text meines Buches und kann die Links direkt anklicken. Wollen wir hoffen, die Inhalte seien zwi- schenzeitlich gleich geblieben! Anmerkungen und Glossen zum Text sind in Fussnoten, bio- graphische Notizen (und lange Anfügungen) aber in Endno- ten am Schluss des 7. Kapitels festgehalten (S.368). Alle geographischen Namen, die mit einer Tiefzahl zwischen 56 und 62 versehen sind, finden sich in einer der auf Seite 56 – 62 eingefügten Karten wieder. Auch dieses Jahr sind meine unbedarften Einwürfe kursiv geschrieben.
    [Show full text]
  • Jean-Marie-Victor Viel
    Jean-Marie-Victor Viel Jean-Marie-Victor Viel. Jean-Marie-Victor Viel 1796â“1863 was a French architect who designed the Palais de l'Industrie Palace of Industry an exhibition hall located between the Seine River and the Champs-Élysées which was erected for the Paris World Fair in 1855. Notes. ^ "The Foreign Soul & The Angelus" de Maupassant,G trans: Wilson, J Notes p94 Lambeth, Duchy of Lambeth 2008 ISBN 978--0-9558525-1-0. Jean Victor Marie Moreau (14 February 1763 â“ 2 September 1813) was a French general who helped Napoleon Bonaparte to power, but later became a rival and was banished to the United States. Moreau was born at Morlaix in Brittany. His father was a successful lawyer, and instead of allowing Moreau to en Jean-Marie-Victor Viel was a French architect who designed the Palais de l'Industrie an exhibition hall located between the Seine River and the Champs-Élysées which was erected for the Paris World Fair in 1855.[1]. For faster navigation, this Iframe is preloading the Wikiwand page for Jean- Marie-Victor Viel. Home. News. Random Article. Install Wikiwand. Follow Us. Send a suggestion. Add. Jean-Marie-Victor Viel. + . Read more. Full Wikipedia Article. Jean-Marie-Victor Viel. Architect. 50% (1/1). + . Read more. Architect. American Institute of Architects Architectural firm Architectural technologist. Exposition Universelle (1855). Jean Victor Marie Moreau. Marshal of France. Wikipedia. Date of birth. 14 February 1763 Morlaix. Date of death. 2 September 1813 Louny. Jean-Victor Moreau.jpg 808 × 858; 153 KB.
    [Show full text]
  • Deborah Moggach, Zbigniew Herbert and Dutch Painting of the Seventeenth Century
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Jagiellonian Univeristy Repository Studia Litteraria Universitatis Iagellonicae Cracoviensis 10 (2015), z. 2, s. 131–151 doi: 10.4467/20843933ST.15.012.4103 www.ejournals.eu/Studia-Litteraria MAREK KUCHARSKI Uniwersytet Jagielloński w Krakowie e-mail: [email protected] Intertextual and Intermedial Relationships: Deborah Moggach, Zbigniew Herbert and Dutch Painting of the Seventeenth Century Abstract The aim of the article is to analyse the intertextual and intermedial relationships between Tulip Fever, a novel by Deborah Moggach, The Bitter Smell of Tulips, an essay by Zbigniew Herbert from the collection Still Life with a Bridle, with some selected examples of Dutch paintings of the seventeenth century. As Moggach does not confi ne herself only to the aforementioned essay by Herbert, I will also refer to other essays from the volume as well as to the essay Mistrz z Delft which comes from the collection of the same title. Keywords: Deborah Moggach, Zbigniew Herbert, novel, essay, Dutch paintings, intertextuality, intermediality. Zbigniew Herbert’s essay The Bitter Smell of Tulips comes from the collection Still Life with a Bridle which is a part of the trilogy that, apart from the afore- mentioned collection of essays, consists of two other volumes: Labyrinth on the Sea and Barbarian in the Garden. In each of the volumes, in the form of a very personal account of his travels, Herbert spins a yarn of European culture and civi- lization. Labyrinth on the Sea focuses on the history and culture of ancient Greece and Rome whereas in Barbarian in the Garden Herbert draws on the whole spec- trum of subjects ranging from the prehistoric paintings on the walls of the cave in Lascaux, through the Gothic cathedrals and Renaissance masterpieces, to the stories about the Albigensians and the persecution of the Knights of the Templar Order.
    [Show full text]
  • Embodiment in Middle English Lyric
    Beste of bon and blod: Embodiment in Middle English Lyric Sarah Kathryn Moore A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2015 Reading Committee: Míċeál Vaughan, Chair Colette Moore Carolyn Allen Program Authorized to Offer Degree: English © Copyright 2015 Sarah Kathryn Moore ii University of Washington Abstract Beste of bon and blod: Embodiment in Middle English Lyric Sarah Kathryn Moore Chair of the Supervisory Committee: Professor Míċeál Vaughan English This dissertation argues that Middle English lyric is uniquely successful at connecting readers and hearers with our own bodies and with the bodies of medieval textual subjects. This effect occurs on the levels of content, form, and tone, although my emphasis is primarily on the formal components through which the connection is achieved, and my evidence is drawn largely from formal analysis of the songs. The methods through which the lyrics connect us with our bodies are sophisticated and include especially the carefully managed use of the linguistic category of deixis; nuanced, intentional portrayal and evocation of affect, or physically demonstrated emotion; and implicit and explicit reference (via form and content respectively) to the ways in which lyrics were literally embodied by medieval subjects through danced performance. I argue that Middle English lyrics construct and maintain the “I” of an uttering subject while also reinforcing an embodied sense of self in the text’s reader or hearer. The corpus of surviving lyrics uniquely demonstrates how language, subjectivity, the body, and poetic form are related, speaking to the profound utility of verse (both in the medieval period and today) in constructing a sense of self and in relating to and empathizing with others.
    [Show full text]
  • Leadership and Demands of the Imperial Guard
    DePaul University Via Sapientiae Napoleon Translations French Program 1-1-2011 Leadership and Demands of the Imperial Guard George Overton Kenya Tapia Follow this and additional works at: https://via.library.depaul.edu/napoleon Recommended Citation Overton, George and Tapia, Kenya. (2011) Leadership and Demands of the Imperial Guard. https://via.library.depaul.edu/napoleon/16 This Translation is brought to you for free and open access by the French Program at Via Sapientiae. It has been accepted for inclusion in Napoleon Translations by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. Leadership and Demands of the Imperial Guard By Paul, Soldier of the former Imperial Guard. Translated by: George Overton and Kenya Tapia “He who serves his country well does not need elders.” Voltaire PARIS. 1814. Translators’ Introduction: For years, under Napoleon, the French Army fought hard and won numerous important victories. Although many died, they were a united cause and made much progress under Napoleon up until his defeat at Leipzig on October 19 th , 1813. However, with Napoleon now gone, new leaders indicted him as a thief and a bandit, effectively discrediting both Napoleon and his soldiers who had worked so hard for their nation’s cause. One soldier, Paul, writes in “Leadership and Demands of the Imperial Guard” against this newfound sentiment. Free of intrigue and any kind of political parties, a soldier knows neither pride nor the lowness of courts. The nation appoints him a leader. Loyal to the country, it is all he knows, he is happy to die for her.
    [Show full text]
  • 'Tradizione E Contaminazione': an Ethnography of The
    ‘TRADIZIONE E CONTAMINAZIONE’: AN ETHNOGRAPHY OF THE CONTEMPORARY SOUTHERN ITALIAN FOLK REVIVAL Stephen Francis William Bennetts BA (Hons), Australian National University, 1987 MA, Sydney University, 1993 Graduate Diploma (Communication), University of Technology, Sydney, 1999 This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia, School of Social Sciences, Discipline of Anthropology and Sociology 2012 ‘Pizzicarello’, Tessa Joy, 2010. 1 2 I have acquired the taste For this astringent knowledge Distilled through the Stringent application of the scientific method, The dry martini of the Intellectual world, Shaken, not stirred. But does this mean I must eschew Other truths? From ‘The Bats of Wombat State Forest’ in Wild Familiars (2006) by Liana Christensen 3 4 ABSTRACT The revival since the early 1990s of Southern Italian folk traditions has seen the ‘rediscovery’ and active recuperation, especially by urban revivalist actors, of le tradizioni popolari, popular traditional practices originating in peasant society which are still practiced by some traditional local actors in remote rural areas of Southern Italy. This thesis draws on interviews, participant observation and historical research carried out mainly during fieldwork in Rome and Southern Italy in 2002-3 to present an ethnography of the urban revivalist subculture which has been the main driving force behind the contemporary Southern Italian folk revival. In the course of my enquiry into why the movement has emerged, I combine both synchronic and diachronic perspectives, as well as a phenomenological analysis of revivalist motivation and agency, to explore the question of why contemporary urban revivalists have begun to take an interest in the archaic and marginalised cultural practices of rural Southern Italy.
    [Show full text]
  • Annual Report 2004
    mma BOARD OF TRUSTEES Richard C. Hedreen (as of 30 September 2004) Eric H. Holder Jr. Victoria P. Sant Raymond J. Horowitz Chairman Robert J. Hurst Earl A. Powell III Alberto Ibarguen Robert F. Erburu Betsy K. Karel Julian Ganz, Jr. Lmda H. Kaufman David 0. Maxwell James V. Kimsey John C. Fontaine Mark J. Kington Robert L. Kirk Leonard A. Lauder & Alexander M. Laughlin Robert F. Erburu Victoria P. Sant Victoria P. Sant Joyce Menschel Chairman President Chairman Harvey S. Shipley Miller John W. Snow Secretary of the Treasury John G. Pappajohn Robert F. Erburu Sally Engelhard Pingree Julian Ganz, Jr. Diana Prince David 0. Maxwell Mitchell P. Rales John C. Fontaine Catherine B. Reynolds KW,< Sharon Percy Rockefeller Robert M. Rosenthal B. Francis Saul II if Robert F. Erburu Thomas A. Saunders III Julian Ganz, Jr. David 0. Maxwell Chairman I Albert H. Small John W. Snow Secretary of the Treasury James S. Smith Julian Ganz, Jr. Michelle Smith Ruth Carter Stevenson David 0. Maxwell Roselyne C. Swig Victoria P. Sant Luther M. Stovall John C. Fontaine Joseph G. Tompkins Ladislaus von Hoffmann John C. Whitehead Ruth Carter Stevenson IJohn Wilmerding John C. Fontaine J William H. Rehnquist Alexander M. Laughlin Dian Woodner ,id Chief Justice of the Robert H. Smith ,w United States Victoria P. Sant John C. Fontaine President Chair Earl A. Powell III Frederick W. Beinecke Director Heidi L. Berry Alan Shestack W. Russell G. Byers Jr. Deputy Director Elizabeth Cropper Melvin S. Cohen Dean, Center for Advanced Edwin L. Cox Colin L. Powell John W.
    [Show full text]