37Th Annual Nineteenth-‐Century French Studies Colloquium
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3 July 2019 Royal Holloway, University of London
60th Annual Conference 1 - 3 July 2019 Royal Holloway, University of London Welcome and acknowledgments On behalf of the Society for French Studies, I am delighted to welcome all of you to our Annual Conference, this year hosted by Royal Holloway, University of London. Today's Royal Holloway is formed from two colleges, founded by two social pioneers, Elizabeth Jesser Reid and Thomas Holloway. We might note with some pleasure that they were among the first places in Britain where women could access higher education. Bedford College, in London, opened its doors in 1849, and Royal Holloway College's stunning Founder's Building was unveiled by Queen Victoria in 1886 – it’s still the focal point of the campus, and we shall gather there for a reception on Tuesday evening. In 1900, the colleges became part of the University of London and in 1985 they merged to form what is now known as Royal Holloway. We hope that this year’s offerings celebrate the full range of French Studies, and pay tribute to the contribution that is made more widely to Arts and Humanities research by the community of students and scholars who make up our discipline. We are especially pleased to welcome delegates attending the Society’s conference for the first time, as well as the many postgraduate students who will be offering papers and posters and colleagues from around the world. We are very excited to be welcoming the following keynote speakers to this year's conference: Kate Conley (Dean of the Faculty of Arts & Sciences, Professor of French and Francophone Studies, William and Mary); David McCallam (Reader in French Eighteenth-Century Studies, University of Sheffield); Pap NDiaye (Professeur des universités à l'Institut d'études politiques de Paris, Histoire nord-américaine, Sciences-Po); and Mairéad Hanrahan (Professor of French, University College London and former President of SFS). -
Language and Option Courses in FRENCH 2012-13 for Details of Option Courses, Click on the Title to Read the Course Specificati
Language and Option Courses in FRENCH 2012-13 For details of option courses, click on the title to read the course specification document First Year FR1001 Pratique de l’écrit: analyser et argumenter FR1002 Pratique de l’oral : La France contemporaine à travers son cinéma FR1004 Translating from and into French FR1104 Perspectives on Modern France: Crisis, Nation, Identity FR1105 The Visual Image in French Culture and Society FR1110 Introduction to French Literature: A Taster Course FR1107 Language, Communication and Society FR1111 Introduction to French Literature: Critical Skills Second Year FR2001 Pratique de l’écrit: analyser et argumenter FR2002 Pratique de l’oral : La France contemporaine à travers son cinéma FR2004 Translating from and into French CORE FOR SINGLE AND MAJOR FR2102 Writing Romance and Desire FR2104 Culture and Ideology: La France et la Francophonie FR2105 Stage and Screen in France FR2106 Cinema in France Final Year FR3001 Pratique de l’écrit: communiquer et convaincre FR3002 Pratique de l’oral: réflexions et débats FR3003 Advanced Translating Skills FR3102 Arthurian Romance: Chrétien de Troyes FR3108 Repression and Rebellion: The Father and the Father’s Law FR3109 Gender and Transgression in Early-Modern French Literature FR3111 Fictions of History: Narrative, Film and Event in Early Modern France FR3112 Image, Identity and Consumer Culture in Post-war Fiction and Film FR3113 Text and Image in France: from Cubism to the Present FR3114 Ethics and Violence: Murder, Suicide and Genocide in Literature and Film FR3115 Marcel Proust’s A la recherche du temps perdu FR3117 The Passion of Place: Desire and Identity in Modern Paris FR3120 Wanton Women: artists and writers of the French avant-garde FR3121 Montaigne Then and Now FR3119 Dissertation The information contained in this course outlines is correct at the time of publication, but may be subject to change as part of the School’s policy of continuous improvement and development. -
The Collaborative Relationship of Marcel Moore and Claude Cahun
A Reflection of Desire: The Collaborative Relationship of Marcel Moore and Claude Cahun Item Type text; Electronic Thesis Authors Pustarfi, Erin F. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 02:55:51 Link to Item http://hdl.handle.net/10150/628158 A REFLECTION OF DESIRE: THE COLLABORATIVE RELATIONSHIP OF MARCEL MOORE AND CLAUDE CAHUN by Erin Frances Pustarfi _________________________________________ Copyright © Erin Frances Pustarfi 2018 A Thesis Submitted to the Faculty of the SCHOOL OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN ART HISTORY In the Graduate College THE UNIVERSITY OF ARIZONA 2018 STATEMENTBYAUTHOR The Thesis titled A Reflectionof Desire: The Collaborative Relationship ofMarcel Moore and Claude Cahunprepared by Erin Frances Pustaifihas been submitted in partialfu1fillment of requirements for a master's degree at the University of Arizonaand is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Erin Frances Pustaifi -- APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: - S-/10/fEi. -
APÉNDICE BIBLIOGRÁFICO1 I. Herederas De Simone De Beauvoir A. Michèle Le Doeuff -Fuentes Primarias Le Sexe Du Savoir, Aubier
APÉNDICE BIBLIOGRÁFICO1 I. Herederas de Simone de Beauvoir A. Michèle Le Doeuff -Fuentes primarias Le sexe du savoir, Aubier, Paris : Aubier, 1998, reedición: Champs Flammarion, Paris, 2000. Traducción inglesa: The Sex of Knowing. Routledge, New-York, 2003. L'Étude et le rouet. Des femmes, de la philosophie, etc. Seueil, Paris, 1989. Tradcción inglesa: Hipparchia's Choice, an essay concerning women, philosophy, etc. Blackwell, Oxford, 1991. Traducción española: El Estudio y la rueca, ed. Catedra, Madrid, 1993. L'Imaginaire Philosophique, Payot, Lausanne, 1980. Traducción inglesa: The Philosophical Imaginary, Athlone, London, 1989. The Philosophical Imaginary ha sido reeditado por Continuum, U. K., 2002. "Women and Philosophy", en Radical Philosophy, Oxford 1977; original francés en Le Doctrinal de Sapience, 1977; texto inglés vuelto a publicar en French Feminist Thought, editado por Toril Moi, Blackwell, Oxford 1987. Ver también L'Imaginaire Philosophique o The Philosophical Imaginary, en una antología dirigida por Mary Evans, Routledge, Londres. "Irons-nous jouer dans l'île?", en Écrit pour Vl. Jankélévitch, Flammarion, Flammarion, 1978. "A woman divided", Ithaca, Cornell Review, 1978. "En torno a la moral de Descartes", en Conocer Descartes 1 Este apéndice bibliográfico incluye las obras de las herederas de Simone de Beauvoir, así como las de Hannah Arendt y Simone Weil, y algunas de las fuentes secundarias más importantes de dichas autoras. Se ha realizado a través de una serie de búsquedas en la Red, por lo que los datos bibliográficos se recogen tal y como, y en el mismo orden con el que se presentan en las diferente páginas visitadas. y su obra, bajo la dirección de Victor Gomez-Pin, Barcelona 1979. -
Le Mordu De Rachilde : Une (R)Évolution Plus Qu’Esthétique
ANITA STAROŃ Université de Łódź Le Mordu de Rachilde : une (r)évolution plus qu’esthétique l n’est pas difficile de voir en Rachilde une révolu‐ I ��onnaire. Son style de vie, ses vêtements mascu‐ lins, son indépendance choquent à une époque où le féminisme commence seulement à se frayer un chemin. Ses premiers romans lui assurent une popularité mêlée de scandale, à cause des sujets osés et extravagants qu’elle y aborde. Cee réputaon sulfureuse l’accompagnera tout au long de sa carrière, si ce n’est jusqu’à nos jours. On peut même remarquer qu’elle contribue à lui coller dura‐ blement l’équee de romancière décadente qui aurait suivi de près cee esthéque, sans s’efforcer d’y intro‐ duire des changements1. Or, il semble qu’au contraire, l’art de Rachilde a esquissé une évoluon au cours des années. L’année 1889 s’érige, de ce point de vue, en un moment symbolique. Tout y coïncide : la publicaon de Monsieur Vénus en France (après sa première sore, lui valant une condamnaon, en Belgique, en 1884), le mariage de Ra‐ childe et d’Alfred Vallee, la naissance de Gabrielle, fille unique de Rachilde, l’impression du premier numéro du Mercure de France2. C’est également la date de paruon de son « roman de mœurs liéraires » Le Mordu. 1 C’est notamment l’opinion de Valérie Michelet‐Jacquod pour qui les romans de Rachilde « exaspèrent l’état d’esprit décadent » et, « tout en recourant à l’imaginaire décadent, ne le remeent pas en cause, pas plus que la narraon réaliste » (V. -
Fashion, Fiction, and Femininity in Second Empire France
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 Designing Women: Fashion, Fiction, and Femininity in Second Empire France Sara Frances Phenix University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Other Languages, Societies, and Cultures Commons, and the Women's Studies Commons Recommended Citation Phenix, Sara Frances, "Designing Women: Fashion, Fiction, and Femininity in Second Empire France" (2013). Publicly Accessible Penn Dissertations. 911. https://repository.upenn.edu/edissertations/911 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/911 For more information, please contact [email protected]. Designing Women: Fashion, Fiction, and Femininity in Second Empire France Abstract This dissertation explores the role of fashion and fashion journal discourse in some of the most widely read French novels of the nineteenth century: Gustave Flaubert's Madame Bovary (1857), �mile Zola's La Curée (1871), and Edmond de Goncourt's Chérie (1884). As access to popular styles and fashion magazines became increasingly democratized over the course of the nineteenth century, Second Empire Paris, with its new public parks, cafés, and amusements, became the locus of an unprecedentedly visual culture. Though fashion has often been considered a feminine frivolity in scholarly circles, I argue for its importance in the Second Empire as economic engine, powerful political tool, and visual signifier of social status. The rising significance of fashion in nineteenth-century French cultural life is paralleled by an increased interest in la mode in male-authored realist and naturalist texts. In the decline and dissolution of their respective heroines, I explore how Flaubert, Zola, and Goncourt thematize and problematize the kind of gaze that fashion elicits. -
Front Matter
Cambridge University Press 978-0-521-89786-0 - The Cambridge History of French Literature Edited by William Burgwinkle, Nicholas Hammond, and Emma Wilson Frontmatter More information the cambridge history of FRENCH LITERATURE From Occitan poetry to francophone writing produced in the Caribbean and North Africa, from intellectual history to current films, and from medieval manuscripts to bandes dessinees´ , this His- tory covers French literature from its beginnings to the present day. With equal attention to all genres, historical periods, and reg- isters, this is the most comprehensive guide to literature written in French ever produced in English, and the first in decades to offer such an array of topics and perspectives. Contributors attend to issues of orality, history, peripheries, visual culture, alterity, sexu- ality, religion, politics, autobiography, and testimony. The result is a collection that, despite the wide variety of topics and perspec- tives, presents a unified view of the richness of French-speaking cultures and gives support to the idea that French writing will continue to prosper in the twenty-first century as it adapts, adds to, and refocuses the rich legacy of its past. William Burgwinkle is a Reader in Old French and Occitan at the University of Cambridge and a Fellow of King’s College, Cambridge. Nicholas Hammond is a Reader in Early Modern French The- atre and Thought at the University of Cambridge. Emma Wilson is Professor of French Literature and the Visual Arts at the University of Cambridge. © in this web service -
Conclusion: Renunciation Stories and Wandering Kings
CONCLUSION: RENUNCIATION STORIES AND WANDERING KINGS In that way one can live. (Life and Times of Michael K)1 Ahora, la busca está condenada al fracaso. (El oro de los tigres)2 This book arose from a decision to follow an idea in movement. There was something intriguing about the Renunciation story that kept return- ing in various guises, in Borges’s essays, poems, and stories. The story was simple enough—a king leaving his palace after an encounter with an ascetic—yet as Borges speculated that its various transformations revealed a foundational narrative principle, it seemed to lead down so many forking paths. It was identifed with Buddhism, one of Borges’s many intellectual interests: yet he appeared especially interested in the ways in which the story traveled beyond Buddhism, to the point where no one religion or culture could claim ownership to it. It circulated ubiquitously, and transformed itself almost beyond recognition. Politically, it set up a basic confrontation between power and powerlessness, but then fipped 1Coetzee 184. 2Today, the quest is doomed to failure. Translation mine. “Los cuatro ciclos”, OC 2: 506. © The Editor(s) (if applicable) and The Author(s), 99 under exclusive license to Springer Nature Switzerland AG 2019 D. Jullien, Borges, Buddhism and World Literature, Literatures of the Americas, https://doi.org/10.1007/978-3-030-04717-7 100 CONCLUSION: RENUnciatiON STORIES AND WANDERING KINGS the outcome because the powerless fgure had the last word. Again this basic confrontation led down a multiplicity of possible political paths: reform, abdication or withdrawal being the main branches. -
No. 101 Hannah Thompson, Taboo
H-France Review Volume 14 (2014) Page 1 H-France Review Vol. 14 (June 2014), No. 101 Hannah Thompson, Taboo: Corporeal Secrets in Nineteenth-Century France. Oxford: Legenda, 2013. ix + 157 pp. $89.50 U.S. (hb). ISBN 978-1-907975-55-4. Review by Holly Christine Woodson, Seattle University. Hannah Thompson’s provocative latest book, Taboo: Corporeal Secrets in Nineteenth-Century France, considers nineteenth-century realist and naturalist representations of the body--sexual, ill, effeminate, wounded, monstrous, disabled, or traumatized--using what Julia Kristeva elsewhere has called a “split speech act,” in which the reader and the author are “simultaneously subject and addressee of discourse.”[1] Thompson’s reading adopts a definition of “taboo” as located simply in the unsayable, as opposed to the atavistic sexual dynamic theorized in Sigmund Freud’s well-known Totem and Taboo. Naturalism and realism then turn out to be fertile grounds for exploration of the taboo body since that body is the most resistant to narrative representation, and therefore is, ironically, “its most articulate” (p. 4). Thompson’s theoretical basis is varied and admittedly eclectic, engaging, among others, Georges Bataille, Michel Foucault, Roland Barthes, Judith Butler, Susan Sontag, and Cathy Caruth. Thompson focuses on their interests in the tension between the speakable and unspeakable. Moreover, she confronts renowned critics, including Jean Borie and Elaine Scarry, arguing for a more nuanced understanding of the paradoxical silence she identifies in narratives of illness and pain.[2] Thompson’s critiques of idées reçues are typically spot-on, challenging us to return to the novels. Moreover, Thompson’s critical apparatus (introduction, chapter endnotes, bibliography, and index) is well-suited to her dense, slim volume. -
1 « Le Masque Verbal
« Le Masque Verbal » : Claude Cahun’s Textual Travesty Le masque charnel et le masque verbal se portent en toute saison. Claude Cahun, « Carnaval en chambre », 1926 A now celebrated archive of photographs picturing Claude Cahun forms the basis of her worldwide reputation in the contemporary era1. In the early twentieth century, however, Cahun was known primarily for her writings. The scion of a literary family, she published in prestigious journals such as Mercure de France in addition to fringe magazines such as the surrealist review Minotaure and the homophile periodical L’Amitié2. She also authored book-length works that include an unpublished manuscript, « Jeux uraniens » (Uranian Games, c.1914) ; the symbolist-inspired Vues et visions (Views and Visions, 1919) ; and the surrealist anti-autobiography, Aveux non avenus (Disavowals, 1930). These were produced in the context of Cahun’s lifelong relationship with the visual artist Suzanne Malherbe (nom d’artiste Marcel Moore) and with her participation3. This essay takes up the problematic of identity and authorship : who is the « I » speaking in these writings ? However, the focus here is not Cahun’s creative alliance with Moore, but rather the bonds of imagination the author formed with a select roster of savants and 1 The catalogue for François Leperlier’s 1995 Paris retrospective at the Musée d’Art Moderne de la Ville de Paris, Claude Cahun, Photographe, included an extensive iconography and circulated internationally. Most English-language scholars who have written about Cahun have relied heavily on Leperlier’s catalogue, and his richly researched Cahun biography, recently revised and re-released, L’Exotisme intérieur (Paris, Fayard 2006). -
Marcel Schwob and •Œthe Talking Machineâ•Š: a Tale À La Poeã¢Â
BYU Studies Quarterly Volume 6 Issue 1 Article 5 1-1-1965 Marcel Schwob and “The Talking Machine”: a Tale à la Poeâvia Thomas A. Edison John A. Green Follow this and additional works at: https://scholarsarchive.byu.edu/byusq Recommended Citation Green, John A. (1965) "Marcel Schwob and “The Talking Machine”: a Tale à la Poeâvia Thomas A. Edison," BYU Studies Quarterly: Vol. 6 : Iss. 1 , Article 5. Available at: https://scholarsarchive.byu.edu/byusq/vol6/iss1/5 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in BYU Studies Quarterly by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Green: Marcel Schwob and “The Talking Machine”: a Tale à la Poeâ??via Th marcel schwob and the talking machine a tale a la poe uiavia thomas A edison introduction and translation by JOHN A GREEN marcel schwob n6nane aA chaville iele 23 abataoataout 1867 decedebeceded6c6d6 Aa paris iele 26 fevrier 1905 time and weather have all but ob- literatedliterated these words from a tombstone in the jewish section of montparnasse cemetery and the man s niche in present literary history is scarcely more noticeable it is not that schwob never achieved any fame alfred vallette director of the leading young review the mercure de france was quick to defend him in 1892 as one of the keenest minds of our time and soon added that schwob gave promise of defining to- morrow s taste in literary criticism teodor de -
Marcel Schwob and Léon Daudet: Exploring Jewish Jokes and Murder in Tibet
1 Marcel Schwob and Léon Daudet: Exploring Jewish Jokes and Murder in Tibet Norman Simms The following essay was deleted from my Jews in an Illusion of Paradise, a study of Jewish Intellectuals who misread their place in the gentile society they think they have assimilated into. Its immediate context is a scene in which the short-story-writer, journalist and Symbolist critic, Marcel Schwob (1867-1905) goes on holiday to the Channel Islands (where Victor Hugo had spent his long exile) with his friend Léon Daudet (1867-1942), the son of Alphonse Daudet (1840-1897), author of Lettres de mon moulin . The scene is presented in the memoirs of the younger Daudet, an anti-Semite (like his father) who later became a collaborationist under the Nazi Occupation of France a generation later. Léon is unaware that his friend has just been diagnosed with a mysterious disease that slowly killed him over the next ten years. In the course of their visit to Guernsey, they with another visitor to the island, the elderly Jew, Salomon Ignace (1828-1898). Ignace is a retired civil servant. Joining in to the conversation the two young men are having, he makes reference to the famous French explorer, Dutreuil de Rhins. But the old Jew, with his Yiddish accent, mistakes the expedition into Africa for a later fatal trip into Central Asia. The befuddled words of this old man and the reaction of the two intellectual friends can be seen as evidence of the unstated cultural tension between Maurice and Léon, an assimilated Jew and a future Nazi sympathizer.